Emma Grimsley and Matt Dengler
(Photo by Andrew Boyle)
You are unlikely to see a show this compelling on Broadway, which is where it belongs. Unfortunately, no composer alive today is writing music that can touch the quality of the late 19th century composer Jules Massenet and it is his music that compelled us to brave the frigid temperatures and slushy icy streets of Brooklyn to see an original reinterpretation of Massenet's Manon, presented by Heartbeat Opera. And so should you, if you would enjoy an entertaining evening that has one foot in opera and another foot in musical theater.
We have often written that Broadway is to contemporary audiences what opera was to that of the 19th century. We have enumerated Broadway musicals that we held in the same high esteem as opera--many of which were written by the late great Stephen Sondheim. Just as not all operas of years gone by have survived, so not all musicals of the 20th and 21st century will pass the test of time. Consequently, there need be no explanations, apologies, or categorization. A good show is a good show.
However, the triad of good storytelling, good music, and good voices must be met. The feature that removes Broadway shows from our consideration is the damage that electronics have done to our appreciation of the human voice. Performed in an opera house without amplification, A Little Night Music and Sweeney Todd are both operas, as are several more we could name.
This is the reason that we responded to Heartbeat Opera's hybrid production of Massenet's Manon with less enthusiasm than the rest of the audience. The storytelling was compelling, the drama was intense, the performers were appealing, and the reduction of the score absolutely brilliant. If some of the voices were a shade less than stunning we could not honestly say, such was the electronic sound design. Voices were sometimes a touch too loud or almost inaudible. The subtle changes of color and vibrato were lost. Enunciation was often lazy. We longed for titles.
We wondered why the decision was made to provide an English libretto but no titles. The verses were translated from the original French of Henri Meilhac and Philippe Gille into colloquial English with more of an emphasis on rhyming than on poetry. Supplementary dialogue was of a colloquial nature. We did miss the beautiful marriage of the French language with Massenet's vocal line, as did our guest who is an opera singer and a Francophone. As noted, performing in English does not obviate the need for titles.
The storytelling hews rather closely to that of Meilhac and Gille and tells the story of a young woman who is not satisfied with the limited roles available to women of that epoch. She is high-spirited and rebellious and not quite resigned to conventional marriage or convent life. She is torn between her love for the Chevalier de Grieux and the life of luxury available to courtesans. She exhibits the qualities of a sociopath, manipulating her lover and her "sponsor" Guillot. She comes to a bad end. The women of the audience get to enjoy identifying with her power over men whilst criticizing her immorality. She is indeed a tragic figure but we were unable to shed a tear for her, although we have shed many for Violetta in Verdi's La Traviata.
Emma Grimsley played the role to the hilt and is just young enough and pretty enough to be believable. (We might add that we reviewed Ms. Grimsley a decade ago in the leading role of Jerome Kern's Sally produced by Light Opera of New York. Her voice was scintillating and needed no amplification.) Her foolishly adoring lover was given a fine interpretation by Matt Dengler. Her wealthy "sponsor" was convincingly portrayed by Glenn Seven Allen. The cousin Lescaut who pimps her out was similarly effectively enacted by Jamari Darling. Justin Lee Miller made a fine Count des Grieux.
For this abridged version of scarcely more than an hour and a half, roles were eliminated and cast members did double duty in minor roles. Not at all minor were a pair of "fallen women" (there were three in the original). Their roles were much expanded and provided lots of comic relief. Pousette was played by Kathryn McCreary and Natalie Walker performed the part of Javotte.
The new English book and lyrics are credited to Jacob Ashworth and Rory Pelsue who also provided the excellent direction. Scenic Designer Alexander Woodward did much with little--Manon's trunks from Act I became a bed and "la petite table" of Act II. Impressive crystal chandeliers hung from the ceiling of the spacious playing area of The Space at Irondale. Period appropriate costuming by David Mitsch worked well.
We have saved the best for last. Daniel Schlossberg conducted his own arrangement from the keyboard-- a chamber orchestra comprising violin, cello, bass, clarinet, French horn, bassoon, and harp. The colors were glorious and did justice to Massenet's composition. We have no complaints about the score and don't think Massenet would have objected to the co-opting of his composition.
We cannot say we were thrilled to the core but we are glad that we didn't leave clutching our proverbial pearls and we feel confident in recommending the production for a fine evening's entertainment. We are left wondering whether any audience members will be tempted to see the opera from which this was derived, sung in an opera house with unamplified voices.
© meche kroop
