The Joffrey Ballet’s new presentation of The Nutcracker came in with a flash, but fully demonstrated its intention to become a fixture in the Chicago performing arts scene. Choreographed by Christopher Wheeldon, the production will run until December 30.
I appreciated the connection to Chicago with the production taking place during the construction for World’s Fair in Chicago in 1893. It’s a musicologist and dramturg’s dream. Continue reading
Rent was a huge component of what got me interested in adaptation. La Boheme turned 90’s Aids Crisis, how did Jonathan Larson, musical wizard, create this masterpiece?!? That sincerely spoke to me when I was in high-school, full of angsty and artistic dreams.
But there are moments of the story that can come across as heavy-handed or cliche. It’s not perfect. A 1996 reviewer for the New York Times states it well as “one forgives the show’s intermittent lapses into awkwardness or cliche because of its overwhelming emotional sincerity.”
This staging of RENT at Theo Oubique had a stunning balance of pluck and intimacy. It was an incredible set for the performance and the artists made the audience feel as if they were another member of the circle of friends.
This staging made the elements that are still relevant today shine. Continue reading
I scanned my book shelf looking for something that was a classic and had some artistic depth. I ended up pulling out Henrik Ibsen’s “A Doll’s House”…
Good news friends, I’m starting a new page to stage project! I’m adapting classic literature into musical pieces. There is more that can be explored in the relationship between music and writing than just song lyrics. I intend to replicate moods, tones, structures, characters of great works of literature through music alone.
BUT in my process of digging up research for exploring music related to “A Doll’s House,” Continue reading
With a vibrantly modern look, Cinderella brought humor and light-heartedness to the Lyric Opera stage. I was enthusiastic for the magic of the performance, but left thinking a lot about adaptation.
Rossini’s Opera hits the major plot points of Cinderella, with some slight changes from the story I was most familiar with. The stepmother is a stepfather, the shoe is a bracelet, and we didn’t get the payout of a grand ball, just a fancy intimate dinner.
As for the show itself, Lawrence Brownlee stole the show as the prince. The chemistry between him and Isabel Leonard was sweet and endearing. But when he sang the big aria in Act II, “Si, ritrovarla io giuro,” it brought the house down. In the scene, he gets into the set piece of a carriage that flipped over from the panels of the courtyard set. He came around the back and popped out the window of the carriage to a grand finish. This moment was the climax of the show for me. The right amount of flash, surprise and emotional longing. (These were things that were somewhat lacking with the simplicity of the staging, it felt like Brownlee put the production on his back and lifted it up at this point).
Here’s a great video of Brownlee singing “Si, ritrovarla io giuro” in 2009. The way he sings the ornamentation is so rich and full, and even more impressive in real life.
But what is Cinderella in Opera, really?
I also got my butt up early two weekends ago to commute down to Humanities Day at my alma mater, UChicago. (Luckily there was plenty of coffee and interesting ideas flying around)
The keynote speaker for the day was David Levin who aptly discussed opera in modern life. He used the example of an interpretation of Strauss’ Elektra (Zurich, 2005). We’re developing a new vocabulary for opera with today’s technology that shies away from “blanket celebration or denunciation.”
The format of how opera is being consumed is changing with technology, the MET streaming in movie theaters around the country, home dvds, pbs, youtube. Not to mention all the competition with Netflix etc., to get people in theaters to see Opera is somewhat of a feat.
The Lyric Opera modernized the stage design and costuming. The masks on the mice were nice and the way the carriage was portrayed through the set and then again as a miniature added a dynamic element to the production. But other than that, it was just Cinderella.
Cinderella is a name that people are familiar with. And a Rossini comedy, great! People will buy tickets for it based on name alone. But if there’s one thing we can agree upon, our gut reaction is that Elektra has much more potential emotionally and psychosocially than Cinderella based on libretto alone.
Some stories are better than others. And some stories sell better than others.
But how do we really see Cinderella?
Barbara Herrnstein Smith has some things to say about the narrative form of Cinderella and its variations in her “Narrative Versions, Narrative Theories.” We use the term “Cinderella Story” loosely from Superbowl wins, to a happy children’s book. Hernstein-Smith argues that “no narrative can be independent of a particular teller and occasion of telling” which is why Cinderella is a perfect example because it is a story that is an abstraction without one root story of origin that adaptations follow, but rather, many unique interpretations that share qualities. Performing arts performance is unique because each staging is a different telling for a different audience.
How does this translate visually? Visual signifiers are something I’ve been thinking a lot about with Halloween! How do you minimally signify you are dressed as a character? A good example of this is, if I were to dress as Taylor Swift, what would be required for me to pull it off? Likely, blonde hair. But in her latest music video for wildest dreams, she is brunette. We still know this is Taylor Swift without her signature hair color. That’s because of her face, her voice, lots of other signifiers that make it immediately obvious. But if I was to dress as Taylor swift in wildest dreams, without the blonde hair, you would have no idea who I was supposed to be. If I was to dress up as a princess and wear a blue dress, I think it’s likely people would guess Cinderella right away. If I dressed up as Cinderella in her rag look, people would know. But say I wore a pink dress, would the first guess be Cinderella? That’s how ingrained in our minds Hollywood has cemented this simplistic image. What about things we can’t control as much, hair color, skin color? How far are we willing to recognize that a character is Cinderella?
In pop culture, it’s interesting how Disney seems to have completely taken over our perception of Cinderella.
To interpret this adaptation, I decided to make my own display with standing paper doll cut-outs of Cinderella. Paper dolls were kind of passe at the turn of the century, though they were more widely used in teaching magazines (read about paper doll history). I think these types of paper displays go a long way in educational settings. They are visual and kinesthetic and develop story with spacial reasoning.
I wondered what characters in different interpretations of Cinderella looked like and what would appear when compared to each other. I cut out pictures of Cinderella and the prince from different western interpretations of the story, Disney Cinderella, Rogers and Hammerstein Cinderella, “La Cenerentola” by the lyric opera and by the MET in 2014.
Cinderella closed last week, but the Lyric has a lot of other programs this season! I’m particularly excited for Romeo and Juliet, another frequently adapted tale. Check that out this February and March! We’ll see what is essential in making Romeo and Juliet.
I’m still in awe of the Chicago Sinfonietta’s 2015-16 season launching program “Tap in. Turn Up.” The performance featured Clinard Dance Theater’s Wendy Clinard and Tap Master Cartier Williams layering rhythmic dance to the symphonic texture.
Wendy Clinard was simply divine. Her every move award-winning photograph worthy. In her solo, she struck beautiful poses that layered intensity to the music. Movement and sound struck a balance in her work.
Cartier Williams’ Firebird adaptation brought down the house and roused a standing ovation (which was not even the last performance before intermission!).
He came on the stage with arms flapping and giggles circulated through the audience. He must be making some literal mockery of Firebird. But after several minutes of repeating the flapping gesture and elaborating upon it, the audience saw more clearly that movement was in bold reference not in gest. It reminded me of Michel Fokine’s (also main contributor to Firebird) famous choreography for Saint-Saens’ Dying Swan. Williams seemed to be referring to the ballet tradition of Firebird through this winged movement. For the whole opening sequence, he moved swiftly without even tapping.
For the infernal dance movement, he erupted. Tapping almost unfathomably quickly, hitting syncopations with ease. His technique and focus were stunning. His rhythms sounded derived from the percussion score (signature Stravinsky, notoriously unnatural in complexity), but added something more. Accentuated the rhythmic elements and turned them to something visual.
Elements came back that he incorporated in the beginning and throughout the piece in a flurry in the Finale. Recapping and going beyond. (sometimes literally as at one point he jumped off the stage into the audience): There was one moment in the Finale that really got me. When he transitioned from pull backs to pop up to a beautiful arabesque, reality was suspended.