Tag Archives: Opera Carolina

Tappin Music Carries the Night – at the Knight – in Opera Carolina’s I Dream

Review:  I Dream

By Perry Tannenbaum

Douglas Tappin has composed approximately half of a very fine rhythm-and-blues opera, an extensively revamped I Dream that originally premiered in 2010, honoring Rev. Martin Luther King in his hometown of Atlanta. The two-act work has now been revived serendipitously to coincide with the 50th anniversary of Dr. King’s assassination, premiering in Toledo at 7:01pm on April 4, the exact minute of the crime a half century earlier, and getting a reprise in Charlotte in an Opera Carolina production at Knight Theater.

Showcasing Tappin’s music, Opera Carolina is presenting its first fully-staged production at Knight Theater, a venue they have only used previously for special concert events.

The unfortunate thing is that Tappin also wrote the lyrics and the libretto for I DREAM. We’re saddled with a script that slinks its way circuitously through MLK’s last 36 hours, guided by a dubious premise and punctuated by flashbacks that aren’t always dramatic. This civil rights icon doesn’t merely have a premonition that longevity isn’t to be his; he has recurring dreams about the balcony where he will be shot.

In a bizarre twist, these specious dreams become the dream of Tappin’s title, because all of King’s famed oratory – his “I Have a Dream” speech and his “Mountaintop” prophecy – are never spoken. You better know who Ralph and Hosea are, too, for in steering far away from any copyright recriminations from King’s heirs, Tappin omits their full names. Coretta and Martin aren’t blessed with their last names on the cast listings, either.

And who are Martin’s historic adversaries in his heroic struggle for civil rights? Never anyone more important than an anonymous cop wielding a billy club.

Instead of DC or Memphis, Tappin takes us to Montgomery, Birmingham, and Selma. Prudent choices if we’re seeking action rather than copyrighted oratory, but Tappin’s libretto also takes us to Boston, where he met Coretta during his student days, and to a hospital bed, where a duet is sung over his recumbent form. Perhaps in a previous draft of the libretto, King was stabbed in the chest with a letter opener as he actually was at a 1958 book signing. Not anymore: here he simply collapses.

A better playwright would have tiptoed more skillfully through the copyright minefields and woven a more dramatic and compelling narrative. Tappin’s great strength is in his music. If Andrew Lloyd Webber learned profitably from the great operatic masters, I’d say that Tappin has learned profitably how to create a propulsive non-classical score from Lloyd Webber.

When we finally get to Birmingham and Selma in Act 2, the lunch counter arrest and the time in jail signal a melodic climb to King’s victory in Selma that is truly majestic and inspiring. Tappin sustains this momentum through the rendezvous with fate on the balcony of the Lorraine Motel and afterwards, when Coretta leads Martin’s people in mourning.

Although the steeply raked set design by Kevin Depinet, in placing the fatal balcony dead center, reminds me of a TV test pattern, stage director Daniel Goldstein keeps the action between scenes moving fluidly, and the singers have been more than sufficiently rehearsed to move surefootedly on the sloped surface. Musical director and orchestrator Carl Marsh seems to favor Broadway over the Metropolitan Opera in his instrumentation, including an electric guitar and electronic keyboards in the mix, but there is plenty classical heft in the 35-person ensemble with 13 musicians from Charlotte Symphony.

Opera Carolina’s frontline cast also straddles the realms of musical theatre and opera in their impressive résumés. Derrick Davis has sung an admirable range of baritone roles on Broadway and on tour, from Mufasa in Lion King to the title role in Phantom of the Opera, and his OC debut as MLK has moments of peacemaking mellowness and warrior ferocity.

Although the roles of Ralph Abernathy and Hosea Williams aren’t noteworthy for their historical accuracy or even their individuality, the voices we hear, both returning OC artists, bring the heat. Baritone Kenneth Overton as Ralph seems to be the voice of prudence and pragmatism, yet solid and formidable. As Hosea, Victor Ryan Robertson is the voice of passionate principle, his wild tenor bridling against the discipline of non-violence. The bi-play between Robertson and Davis in the jail scene is simply riveting.

Victimized by the static scenes in Boston and at the hospital, Laquita Mitchell is further disadvantaged by her divine soprano voice. I wouldn’t blame Jeremy J. Lee’s sound design or even Tappin’s libretto here, but to be understood, Mitchell needs supertitles more than anyone else onstage. As a result, mezzo Lucia Bradford upstages Coretta as Grandma in her Charlotte debut. Her maxim, movingly sung to Young Martin (Byas Yasan Monroe), ultimately becomes the most effective frame for King’s sequence of flashbacks.

With this powerhouse lineup of singers armed with Tappin’s consistently lively music, we easily weathered the lulls and inexplicable blind alleys of the composer’s script. The opening night audience for I Dream entered with plenty of enthusiasm for the legacy of Martin Luther King, the rhythm-and-blues idiom of Tappin’s opera, and Opera Carolina’s audacity in taking subscribers to new places – including Knight Theater for a refreshing change. From the buzz in the Knight lobby afterwards, I’d say the performance had clearly sustained the audience’s enthusiasm in all respects.

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Best of Charlotte, 2017

Best of Charlotte, 2017

By Perry Tannenbaum

                                           Best ActorJeremy DeCarlos

 

Among local performers, there are strong candidacies from Brian Logsdon (Pride and Prejudice and Ragtime), Jonavan Adams (Ma Rainey’s Black Bottom and The Christians), Scott A. Miller (Stupid F@#%ing Bird and The Submission), Jermaine Gamble (A Raisin in the Sun and Jitney) and Tyler Smith (Ragtime and Memphis). All of them sparkled on multiple occasions. But the runaway victory goes to Jeremy DeCarlos, who laps the field – in range and productivity – with four scintillating outings. Draped in a braided Hussar jacket, DeCarlos just finished channeling his inner Jimi Hendrix as the devilish St. Jimmy in American Idiot. That was the last of his Actor’s Theatre gems over the past year, including some cross-dressing preaching in Bootycandy, his insouciant devotion in Stupid F@#%ing Bird, and his amazing transformation – from Jerry Lewis nerd to Incredible Hulk-ish monster – in The Toxic Avenger.

Best Actress – Shar Marlin

The field of contenders is larger among the ladies, but the roles were more thinly distributed, eliminating productivity as a decisive criterion. But which other benchmark should override all others? If it’s flesh-crawling menace, Sarah Woldum gets the edge, bringing Sheridan LeFanu’s Carmilla to life in She Who Watches. Leslie Giles was the funniest as the blind librarian in The Toxic Avenger, Lucia Stetson the most revelatory as Mother in Ragtime, and Allison Snow Rhinehart was better than her Broadway counterpart as Mama in Memphis. And how can I forget the sizzling dominatrix arrogance of Nonye Obichere as Whatsername in American Idiot? I’m turning instead to Shar Marlin for her sheer power and imperial dominance in Ma Rainey’s Black Bottom, a dramatic stunner that also showed Shar’s blues singing chops. Dignity in the face of exploitation and discrimination. Diva!

Best Comedy – Women Playing Hamlet

 

Theatre Charlotte’s You Can’t Take It With You and the Citizens of the Universe farewell, The Hitchhiker’s Guide to the Galaxy, were arguably the zaniest productions of the 2016-17, while the Chekhov knockoff from Actor’s Theatre, Stupid F@#%ing Bird, was surely the most poignant. And what about OnQ Productions’ A Brown Tale from James T. Alfred, maybe the funniest one-man show I’ve ever seen? All were worthy candidates, but I’m going to let Chickspeare split this prize with Donna Scott Productions for their joint production of Women Playing Hamlet. Glynnis O’Donoghue starred as the soap queen saddled with the lead role in the Mona Lisa of tragedies, and the galaxy of comediennes – all in multiple roles – offering her questionable advice included Tania Kelly, Andrea King, Vivian T Howell, and Sheila Snow Proctor.

Best Musical – Ragtime

Ragtime Promo Photos

Folks who confine their diet of musicals in Charlotte to touring productions at the PAC are missing out bigtime on the locally-produced blockbusters playing out at smaller venues around town. Actor’s Theatre scrambled to produce a marvelous Toxic Avenger at a storefront church because this city doesn’t have the vision to see the arts flourish on Freedom Drive without a needless morass of red tape. Still in exile, they just brought the noise of American Idiot to Queens University for a face-melting month. After reminding us how finely they can produce A Year With Frog and Toad, Children’s Theatre astonished with the world premiere of The Best Christmas Pageant Ever: The Musical. With more than one Broadway-level performance, Theatre showed us their mettle with Memphis, and CPCC re-emphasized that their musical excellence isn’t confined to summer anymore. Maybe it was sheer luck, but CP’s wintertime production of Ragtime was the most timely of the year, underscoring the sad fact that institutional racism, police brutality, and prejudice against immigrants aren’t quaint relics of the Jazz Age. As the martyred Coalhouse Walker, Tyler Smith’s impassioned “We are all Coalhouse!” reverberated through a city in turmoil.

Best Drama – Jitney

Early last season, PaperHouse Theatre proved that The Frock Shop on Central Avenue was the perfect site for a creepshow with a dazzling She Who Watches, and early this season, a legend made a comeback when Steve Umberger and his Playworks Group brought a sterling production of The Christians to Booth Playhouse. In between, as Charlotte was fully wakening to how badly we have neglected and mistreated our underclass, theatergoers may have finally been zonked by the realization that our city is exceptionally rife with African American acting and directing talent. Kim Parati made an auspicious directorial debut at Theatre Charlotte with a freshened-up Raisin in the Sun, but this was a vintage year for August Wilson – in two dramas directed by Corlis Hayes, Ma Rainey’s Black Bottom at CPCC and Brand New Sheriff’s Jitney at Spirit Square. Hayes brought out the best in John W. Price and Jermaine Gamble as the father-son antagonists in Jitney, with Gerard Hazelton adding a mix of comedy and poignancy as the gypsy cab company’s resident lush. Move over OnQ Productions, there really is a brand new black company in town – our second! – producing professional-grade work.

Best Night @ Symphony – Mahler’s “Resurrection”

While a well-played Beethoven symphony, a Rossini overture, a Strauss tone poem, or a Mozart concerto might be the secret sauce to get newcomers to become Charlotte Symphony subscribers, longtime concertgoers like me wish to dismount the warhorses and hear something off the beaten trail. There’s plenty out there that will please both camps: big, unfamiliar orchestral works that will instantly grab you by the lapels even if Symphony hasn’t reprised them within the last decade. Armed with an audacious orchestra and choir, plus two soloists who have sung with Opera Carolina, Davidson College showed the way with a rousing performance of Ralph Vaughan Williams’ A Sea Symphony, set to poetry by Walt Whitman. That’s the sort of daring we hope for from Charlotte Symphony’s British maestro, Christopher Warren-Green. We did get a British Isles-themed evening when pieces by Edward Elgar and Peter Maxwell Davies, spiced up with a bagpiper, were served with Mendelssohn’s “Scottish.” Utilizing the Symphony Chorus and distinguished guest vocalists, Warren-Green turned up the power with a pair of Bruckner chorales last November and Mendelssohn’s Elijah last March. If you wanted to sample the full capabilities of Symphony, their chorus, and the guest vocalists Warren-Green can summon to Belk Theater, you had to hear them introducing the wonders of Mahler’s “Resurrection” Symphony No. 2 to an astounded audience.

Best Night @ the Opera – The Girl of the West

Under maestro James Meena, Opera Carolina does the oldies better than ever, as their uproarious Barber of Seville and their vivacious, ultimately anguished La Traviata amply proved. There was even some audacity in the 2016-17 programming as OpCar partnered with Warehouse Performing Arts Center and the D9 Brewing Company to produce an evening of three short operas – including the world premiere of Scott Joiner’s “Connection Lost (The Tinder Opera)” – at the brewery in Cornelius. Yes, a world premiere on Treynorth Drive! But most exciting was the Charlotte premiere of Puccini’s The Girl of the West, as Meena collaborated with six other international companies, including New York City Opera and Teatro del Giglio in Lucca, Puccini’s hometown. Singing was exemplary, persuading me that this second-tier Puccini opera was actually a first-rate work, and staging was anything but stodgy or conservative: much of the scenery was animated and bold, with authentic relics evoking the Wild West supplied by our own dearly beloved Wells Fargo. An appreciable, if infinitesimal, atonement for all the bank’s Wild West chicanery.