Idonemeo is one of the greatest operas ever written. A Greek tragedy complete with meddling gods, monsters, love triangles and chaos with a silver-lined ending, it’s everything I expect in an Opera Seria piece and more. Mozart’s soaring music and vision fill the piece and mesmerize any audience member. Boston Lyric Opera’s new production of this classic opera was beautiful and inventive, though lacking in through thought. It was a very good effort with wonderful singers that rounded out Boston’s premiere opera company’s Idonemeno.

BLO took a set originally built for Glimmerglass Opera’s production of Orphee et Eurydice that was stunningly beautiful and perfect for this setting. Great lighting and multiple entrances added depth to the space and kept the audience guessing where to look next. I wish I could see more sets like this as it fit the stage well and did not stand in the way of any action – wonderful!

The singers were fantastic. Camille Zamora as Ilia made a soaring starting point for the opera to lift off. Her presentation, while over the top at times, was exciting, energetic and anything but boring. Ilia is one character that can seem boring, self deprecating, and daft, but Zamora infused power and motivation to create a journey that her character traveled throughout the piece. Sandra Piques Eddy was a surprising Idamante. Her stage presence read masculine at every moment and Idamante’s character and character flaws were easily visible. Jason Collins as Idomeneo was the stand out voice on stage. His aria in the first act was very human and distraught, his second act mellizmatic aria looked easy as pie and beamed from low to high with perfect Tenor placement. Caroline Worra as Elettra had a beautiful voice and presence on stage, though I would have loved for her character to further walk the line between crazed, loving, and confused. Her rage aria before the finale was something I was told would be stand-out fantasic; and it was sung well, but did not make me jump out of my seat as I was expecting to. Worra had good effort, but her energy had a constant decrescendo from the beginning through the end of the 3 hour production.

Lillian Groag’s stage direction was very exciting in the first act. Creating a play within a play that read to the audience as such is an extremely hard task, but I wanted to hop out of my seat at the end of Act 1 and applaud her. The action was so intense yet still a play within a play that I was left with my mouth open at the simplicity of her staging. I’m saddened that it ended after the curtain closed the first time. The second and third acts lost all their charm and left me questioning if we had traveled into the story completely or were still watching players on a stage. That paired with a company energy level declined left me with a slight bad taste in my mouth.

On the other hand, the musical direction of David Angus was spectacular. Those who knew the music well before coming to the theater could be seen on the edges of their seats with an expectant look in their eyes for the thrilling music and upon the curtain drop sat back with a content smile of satisfaction on their faces. The Orchestra and the Chorus benefited greatly from Angus’ baton and blossomed in key moments of every act. Bravo on a job well done and flawless conducting on such a long and intense score!

My only other area of contention was the supertitles. While much of the music was cut from the opera, the words and statements being sung on stage were changed and reinterpreted on the screens in English. There were distinct moments when the audience was laughing at what the “translation” said while the words and thoughts being expressed on the stage were the exact opposite. Reinterpretation of passion to sarcasm, hatred to sexy, loving to boredom: these are not things that should be changed so easily.

All in all, this was a beautiful piece of music, wonderful to listen to, wonderful to see in action and well done by Boston Lyric Opera. With only a few complaints, but more smiles from me, I would love to see more productions on par with this Idomeneo. Both David Angus and Lillian Groag are great additions to the company of BLO and I would be happy to see their return to the helm in the future.

Now, on to next season!

Boston Lyric Opera’s 2010-2011 Season: Tosca- The Emperor of Atlantis – Agrippina – A Midsummer Night’s Dream

The star-crossed lovers Idamante (mezzo-soprano Sandra Piques Eddy) and Ilia (soprano Camille Zamora)
share a bittersweet moment before Idamante heads off to battle

Boston Lyric Opera’s production of Ariadne auf Naxos has made headlines around the world as it is a revival of the European Welsh National Opera. I was very excited to have the chance to see this production come to life here in Boston, and am still delighted that I had the opportunity.

Revival director and choreographer Denni Sayers used the set and costumes brilliantly and created a rich and vibrant Act 1 to this opera. Set backstage at a main stage theater 30 minutes before curtain, the scenery was full of life. There were dressing rooms, staircases, many entrances and exists as well as props, extra scenery, racks of costumes, makeup, food and drink, it went on and on and was used flawlessly.

The second act gave quite a bit less visual interest to play with. A barren stage with a chair created the dessert island that Ariadne was stranded on but introductions of props from the Comedia Dell’ Arte group gave more life and color to the space, as did the occasional appearance of the motley crew themselves. The final scene of transformation, while cliché,  worked so well and was so stunning to look at that I left with my jaw still hanging open.

While visually stimulating, I did have some issues with the actual staging of the piece. The main problem with the directing came from the slow moving pace of the music, which in fact has nothing to do with the directors, but the conductor, Erik Nielsen. Nielsen, who has been touted as James Levine’s selection for projects in the past including The Rise and Fall of the City of Mahagonny and soon to be conducting for the Metropolitan Opera must have been too busy preparing for these large and prestigious events, taking little regard of this show in Boston. The orchestra all but fell apart during some moments of the show. With one dynamic of “loud”, articulation of mud, and one very distinct and slow tempo, he made a mockery of Strauss’ music. I missed the Rubato in the second act that Ariadne needed to put emotion into her laments, I missed the soft and coherent strings underscoring the beautiful women’s trio, I missed too much for words to describe.

But, and this is a big but, the singers were so remarkable I can almost forgive the mistakes of their conductor. With ease Marjorie Owens took the stage as Ariadne. Her rich voice flew over the mistakes of the orchestral ensemble under her and her breath and power shown so bright I wept. Brandon Jovanovich’s Bacchus was effortless and tasteful. Rachele Gilmore’s bright high soprano filled the hall as Zerbinetta and made me wonder at how it’s possible for such a voice to come from such a slight and beautiful woman. She, with the added comedy and voice of Julius Ahn, glowed, and used her troupe as a spring board to add life to the slow moving whole.

The only other area of contention was the personification of the characters. Ariadne and Bacchus seemed so human and genuine, almost touchable to the lowly audience member while Zerbinetta and her compatriots seemed to float above them as untouchable. This should have been the complete opposite for me as a viewer with the vulgar troupe being at my level and the God and Princess being upheld and beautiful.

All in all, the singing was beautiful, the scenery made me giggle and cheer, and the musical interpretation by Nielsen left me with a bad taste in my mouth. Perhaps he’ll take more care when it comes to the Met.

Bacchus (tenor Brandon Jovanovich) and Ariadne (soprano Marjorie Owens) share a transformative moment as the commedia dell’arte troupe and Ariadne’s nymphs watch in awe.

The Boston Opera Collaborative was at its most spectacular this past weekend with their production of A Little Night Music, Stephen Sondheim’s charming and funny tale of love across generations.  The show is a favorite of opera companies for its musical intricacies and a favorite of audience members for its clever dialog, witty puns and fun music.  One need not know me that well to know that I am not a fan of Sondheim in general, regardless of his status as the grandfather of musical theatre, but I have a soft spot in my heart for A Little Night Music.  To me, the show represents a time when Sondheim wasn’t trying too hard to be discordant and complicated- and was focused on good storytelling and interesting music instead.  I was really looking forward to BOC’s production, having had my interest piqued during their production of The Crucible this past fall.  This production though, blew The Crucible out of the water and across the seas.  It was a delight from light’s up to curtain call.

The simple stage dressings and carefully thought-out lighting (by Julia Noulin-Mérat and Chris Brusberg respectively) were the perfect compliment to the simple yet elegant costumes by Rebecca Landau.  I love the unfussy way the stage was set, and the thoughtful way that director, David Gram used the space to compliment its assets and downplay its flaws.  Even the running up and down the aisles wasn’t as annoying as I usually find that sort of thing to be (though I could have done without the slamming doors- a piece of gaff tape would have done the trick).  There was a little bit of a volume problem with the bulk of the “chorus”, but I found the principles to be confident and present throughout the production.

Stephanie Piraino as Anne Egerman was captivating, with a light and crystal tone that instantly endeared the audience to her.  The trio she shares with Fredrick and Henrick, “Soon”, was the best I have ever heard it (and I was far more looking forward to it than to the more famous “Send in the Clowns” in the second act.)  Kristina Riegle was a statuesque beauty with a delicate and sophisticated voice and beautiful presence.  Her portrayal of Desiree Armfeldt was exactly as I would have envisioned her.  Ellen PutneyMoore was a wonderful Mme Armfeldt, causing bubbles of infectious laughter to burst across the audience with her every line.  She was extremely believable as an older woman; in fact, seeing her treatment of the character up against Meena Malik’s depiction of young Frederika Armfeldt was particularly impressive- the two really did seem to be several generations apart.  Katrina Holden and Brandon Cordeiro were a dramatic pair as the Count and Countess Malcom.  They both had strong voices with excellent characterization.  I loved seeing their interactions.  The knock-out, inspired performance of the night, though, goes to the incomparable Keith Potts as Henrik Egerman.  I almost fell out of my chair when I read that he is only in his sophomore year of studies because he was fantastic.  Besides his spirited cello work in the first act (extremely sexy, I might add) his voice was wonderful, and his acting was nuanced and full to the brim with emotion.  His angry outburst at the beginning of the second act was the highlight of the show.  There is not a question in my mind that Potts has a great career on the stage ahead of him.  I would have paid to see him perform alone, but luckily I didn’t have to, because the whole cast complimented each other, making the show feel even more polished and professional.

I must commend directors David Gram (stage) and Emily Hindrichs (music) for this production.  Rather than trying to wow the audience with flashy mechanics or modern marvels, the pair focused on clear and controlled character choices, and thoughtful comic timing to deliver the story.   There was never a moment where I thought, “why is this happening this way,” (a problem I had with The Crucible) because at every moment the directors thought about giving the best presentation of the story that they could, even when that meant a simpler or more traditional choice in staging or music.  I was so impressed and delighted.

My colleague, who did the review of BOC’s The Crucible, warned OperaBoston and BLO to “watch out” for Boston Opera Collaborative, and I have to echo his sentiments.  If this is the future of Opera in Boston, sign me up.

The excellent Samuel Bowen and Kristina Riegle share an intimate moment.

The story of The Rheingold Curse comes from a long tradition of Viking myths that deal with family values, greed and lust- subjects that still relate to so much in our lives today. The vikings had a nomadic aural tradition which has been almost completely absent for hundreds of years. Sequentia made the massive effort to revive these medieval myths in order to uncover the original context for the stories.  It was an ambitious task to take on and one that could be very fruitful if completed well. I applaud their efforts and am glad to have seen the fruits of their labor.

Benjamin Bagby, the director of Sequentia, was the true highlight of this piece. His persona, understanding of the text, and part he played gave him an uncanny ability to speak to the audience. There was not one person in attendance that could not watch and listen to him without understanding his purpose. He embodied a traveling bard of old that I could imagine being familiar to drunken men and women of the medieval era (imagine a drinking lodge in 800 CE). Agnethe Christensen personified Brynhild victoriously, and I loved her warrior-like wooden shoes! Lena Susanne Norin made my night complete as Gudrun who truly takes the story home in the end. The audience had an audible gasp when they realized her character’s actions in the final scene.

The music itself was very intriguing. My companion says he’s never seen or heard anything like it before, though he wasn’t sure if that was a good thing. The words were in Icelandic, which when sung, startled us as it sounded exactly like the Swedish Chef of Muppet Show fame. After getting over a fit of muffled laughter, I was able to enjoy the rest of the performance. I thought the instrumental orchestration was repetitive at times, but for the most part, paired with the singing, the piece was very intelligently put together. I agree with my companion, there is not much like it to be heard in the world, but I enjoyed it, if not for that reason alone.

My major problem with the evening came from the audience itself. When thinking that these stories when first performed were by traveling bards for entertainment along the roads they traveled, this venue seemed quite a bit different. I cannot imagine anyone going to see a piece like this if it cost less than $50 a ticket. (A) No one would take it seriously and (B) it would not show up on anyone’s radar as a worthwhile production. So, for $100 a ticket, the wealthy and older crowd would presume the performance to be very high brow and intellectual and therefore worthwhile of their time and money. I don’t think that was the case when a piece like this was first performed in medieval times. I believe it was for the low brow as well as high brow crowds. It was to speak to the masses, not the few. Therefore, I was not surprised to find the audience full of an older generation and also full of people who had no idea what there were about to see. They laughed when it was not appropriate, could not pay attention as I heard snoring, coughing and even talking (and about subjects other than the performance!) I was floored at their behavior! If I had been any other patron, I would’ve walked out completely.

All in all, I thank Sequentia for bringing this piece alive. It was a glimpse into the past of our musical world and with a myth that is still alive today. I leave with the simple question of why they went to all the trouble to recreate the music, but ask with whole-hearted interest and with a smile.

Bagby as Bard

Baroque opera is not for everyone. It is a bit slow moving and focuses more on the music than on the action. It is full of Da Capo arias that can either be exhilarating or drab, but when done well leaves an audience grasping for more. The Boston Early Music Festival is known for their amazing productions and concerts with exquisite music, brilliant technique and full houses.

Their production of George Frideric Handel’s Acis and Galatea intrigued me. I was very excited when walking into Jordan Hall to find that the soprano portraying Galatea for the night, Teresa Wakim, was actually the role’s understudy. Her bright beautiful tone coupled with baroque movement and style was a perfect execution for this opera. I felt her joy, pain, and grief through the production and applauded how she handled herself. I wish the men did not overpower her in the choral sections so that I could have appreciated her in a group as much as I did when she was soloing. Another highlight of the singers was Zachary Wilder as Coridon. His voice was superb with color and clarity and joy, and though he only had one aria, I was left wishing for more from him. Aaron Sheehan, as Acis, sang the second act superbly and his rage aria had me on my feet. I was disappointed though, with the antagonist, Polyphemus, sung by Douglas Williams. The entire opera rests on his “O Ruddier than the Cherry” which lacked power, splendor and ornamentation. It fell flat at a point in the opera that is pivotal to the plot and after which I paid little attention to his character.

The orchestra was perfect. Led by Paul O’Dette and Stephen Stubbs, each instrumentalist played a key role in the performance that was seamless and graceful. The oboe and recorder players Kathryn Montoya and Gonzalo X. Ruiz were delicious and really stood out as the most fun to listen to throughout the show. Anna Watkins’ costuming was gorgeous and really added to each character in style as well as a prop to use. The costume for Acis when he is in fountain form left me breathless. Gilbert Blin, as stage director, is highly acclaimed for his baroque staging. On this stage, the singers postures and movements were perfect. Their hands were graceful with their bodies in ceaseless movement and each resembled a beautiful portrait of 18^th century art. They were lovely.

Unfortunately I took issue with the rest of the director’s nontraditional staging. I believe the idea is that the show is being rehearsed in an affluent 18^th century family’s home. There were seats and desks with writing utensils, papers and tea cups on either side of the concert stage and a raised platform in the back with an aisle down the center. All the major action took place in the front of the stage as well as down the center and the back platform. While most of the opera is performed by one person at a time the rest of the singers were seated writing or drinking tea and having nothing to do with the action of the play. It detracted completely from the action of whoever was singing because the “non singers” were not even paying attention to the arias. If they don’t care enough to pay attention, then why should I?  I am still perplexed as to what the staging was for since it didn’t add to the piece dramatically. I also question the use of two paintings in the production. The first was great with regard to the opening song “The Pleasure of the plains”, but after that it was of little use and was a huge distraction.  The same goes for the painting hung at the back for the second act. There was no special use of stage or space and the most perplexing thing was the removal of wigs or dress as if it added intent to songs and arias. This did not have the desired effect.  I found the whole thing to be a bit like the performers just milling about in a heap of mismatched 18th century objects.  It could have been so much more powerful if the singers gave a true concert in the classic style.

I loved the music of this piece. It is a wonderful example of pastoral beauty and whimsy and BEMF’s version keeps your attention. It was a wonderful night of music and I believe BEMF got their message across, though Mr. Blin might have a few things to think about before staging the next chamber opera. Beautiful singing and grace!

PHOTO CREDIT: Teresa Wakim as Galatea (left) and Aaron Sheehan as Acis (right).  Courtesy of David Walker.

When on my way to see The Boston Opera Collaborative’s production of The Crucible this weekend, I mistakenly went in the wrong entrance. Instead of the ticket booth and refreshment table, I was greeted by people shuffling large instruments through small door ways, people shmoozing with would-be donors pre-show and the far off sounds of singers warming up- Of course, I quickly exited and went to the front entrance where I was supposed to be, but this was a great start to the night. It was full of excitement, last minute preparations and energy. Through my crazy history of working with operas, this was the feeling you look for in an opening night.

The Crucible is the definition of the quintessential witch hunt play (if such a thing as a quintessential witch hunt play exists). From young girls running wild through the forest, to secret love affairs gone wrong and the ever powerful church looming in the background, it’s all the best parts of opera poured into one show. Robert Ward’s musical interpretation is full and lush and is a perfect match to the story line. It’s even more impressive to take on the show in New England and so close to Salem, because the residents here have that extra bit of knowledge of the area and the history of the play. As I told my companion, in Opera, the music itself shapes everything, and with Ward’s treatment, you could literally sit with your eyes closed and understand exactly what was happening just by hearing it.

The BOC chose the main section of the Church of the Covenant on Newbury Street as their playing space for this production. It was richly decorated and hauntingly poignant to stage the show in a holy building. Primarily, the piece was staged in the altar area and main aisle through the center of the church. While I understand the desire to play with the unique space, I would much rather have watched the show if the staging remained in the front of the church, rather than running up and down the aisles and tucked into dimly lit alcoves. I’m not completely opposed to working in unique ways in unusual spaces, but the main point of contention here was the use of super-titles on the wall at the front of the church. When one makes the decision to use super-titles, the audience will subconsciously read them over the action at all times, even if the action leaves that area and moves somewhere else.  The audience was staring up at the front wall even when the action was elsewhere.  It significantly weakened the overall effect.

Under the baton of Adam Boyles the orchestra sounded superb. I was actually surprised to see the full orchestra and was so pleased that I even took a seat right next to them.  Boyles’ tireless direction and fierce attitude with the piece pulled it to a height that was surprising and exhilarating. They beautifully underscored a cast of singers that ranged from good to phenomenal.  Chelsea Beatty as Mary Warren and Julia Teitel as Elizabeth Proctor were standouts in this production. Chelsea was, by far, the strongest player in the cast. Her pinnacle moment was in the third act court room scene when she recanted her confession.  Against Sepp Hammer’s stiff portrayal of John Proctor and the overly exuberant Holly Cameron’s Abigail Williams, Beatty was a breath of fresh air. Her musicality and stage presence won me over entirely. Julia Teitel as John Proctor’s wife has the hardest character to play. Being an aging wife shoved aside for a younger girl but trying to keep up appearances in the town and staying true to her family’s name would be hard for any twenty-something to wrap their brain around, but Teitel was passionate, and in control of her every move. Her beautiful voice is captivating, but she is even more enchanting in the moments when she was not singing and had only her face and body to convey her pain. She was a treat to watch.  Andrew Wannigman as Thomas Putnam must be noted for his stage presence and knowledge of his character. I wish he had had a larger role in this production.

Since the set design itself was the church, there was not much that needed to be constructed set wise, but I think Maria Molteni went a little overboard with the yarn spinning paraphernalia. There were pieces strewn all around the altar and at the back of the church for no apparent reason and they were a bit distracting and cumbersome to work with for the singers. The lighting on the other hand was flawless. Chris Nayler’s small additions to the church’s own lighting gave an eerie feeling that translated very well for the space and the opera. The costumes were wonderful and well thought out by Cara Pacifico, adding a great “period” feel to the piece. The makeup design though, left me scratching my head bewildered.  There was just no reason for the black lines and smudges bisecting people’s faces.  Random little crosses, dots, and flowers, adorned cheeks like a face-painting booth at a children’s country fair.  Combined with the pale, wan overall facial palate and the odd bits of string on peoples clothes and hands, the makeup was just nonsensical.  It actually continuously pulled me out of the story, especially Judge Danforth’s heavy black line right across his eye.  It completely detracted from this production’s plausibility.

The direction of the show was, for the most part, great. Roxanna Myhrum put much thought into where things would be placed in the space and the meaning behind it, but it seems that at times her thoughts got lost in translation with the cast.  While I enjoyed a lot of the artistic choices with character development, especially with Mary Warren and Elizabeth Proctor’s characters, I was not a fan of the portrayal of Abigail Williams.  Holly Cameron has a beautiful voice, and I loved listening to her, but her character was so over the top, so animated and attention grabbing, it was hard for me to imagine that she would not have been instantly dismissed as crazy by her strict and somber peers and superiors.  I have only ever seen her played as quietly wise and justified- which is why the confession of her infidelity is so implausible- and this overzealous interpretation left a bitter taste in my mouth.   Something also tells me that there were parts cut in the opera for time purposes, and it caused a little bit of confusion with the progression of the story.  I’m not sure where those cuts were made and who was ultimately in charge of them, but any first time viewers had to wonder just how it was that Proctor was cleared of her charges.

All in all, despite the criticisms, I was mightily impressed with this production. Boston Opera Collaborative is pushing the limits of itself to reach greater heights and I applaud them for it! They are capable of creating amazing shows and have the talent and resources for it. This production will surely get them on the radar for Boston’s opera goers and they will reap the benefits for it. Watch out OperaBoston and BLO…the BOC have the youth and vivacity that you crave. I wish them luck and look forward to more productions of operas I can relate to and not have to work too hard to be a part of in the audience.

Mary Warren (Chelsea Beatty) laments her participation in court room condemnations.  (photo by J. Justin Bates)

Call me a theatre snob, (no, really, go ahead, I’m still 60k in debt for my Master’s in Theatre, it is the least you can do) but there just aren’t a lot of opportunities for me to see shows in Boston that I have never seen or heard much about.  That is why I jumped at the opportunity to review SpeakEasy Stage Company’s, Jerry Springer: The Opera.  I did not know a thing about it before I walked through the familiar doors of the Calderwood Pavilion this afternoon.  Despite the fact that I was attending a Sunday Matinee, the house was still completely packed, and not with the usual blue-haired crowd one expects to see at a matinee.  The abundance of enthusiastic twenty-something’s left a pleasant expectation of things to come.

Seated comfortably in my chair, I immediately took in the delightful stage details that made the set look startlingly like the Jerry Springer television show, from the exposed brick (impeccably crafted by Eric Levenson and crew) to the ominous warehouse fan.  From light’s up, surrounded by a chorus of voices imploring “Jerry, Jerry, Jerry” the audience is treated to a delightful romp through the pomp and circumstance of the famous (and infamous) day-time talk show.  From the montage of “audience members”; the pregnant teen, the hick-with-a rat tail, to the bevy of guests including cross dressers, jilted lovers, drug addicts, want-to-be exotic dancers, and KKK enthusiasts, to the unforgettable crew of body guards, camera men, and yes, even the man himself- there truly is no cliché left un-celebrated.  While act one fleshes out the “Jerry Springer Show Experience”, act two brings us to the bowels of hell, where the Devil himself makes an offer to Jerry (who is shot by a stray bullet meant for a KKK member in act one) that he cannot refuse; either propagate a show inviting Jesus, the Blessed Virgin Mother, Adam, Eve, and God to discourse with Satan- or be forced to fornicate with some rather unpleasant looking barbed wire instruments.  Through the circus of the Holy Family vs the Family From Hell, Jerry tries to impart his wisdom on those around him- leaving the audience, both fictitious and real, with one final parting thought before the music swells and he is led off to the next world by his guide, a woman dressed in Shirley Templesque finery, leaving his beloved head of security, Steve, weeping on the studio floor.

I was not disappointed by this premiere production.  The vocals, on the whole, were strong.  Particular stand-outs vocally were Ariana Valdes as Peaches/Baby Jane, and Joelle Lurie as Shawntel/Eve (who in my opinion, stole the show- bravo!) as well as an unexpectedly delightful and sparkly solo for Luke Grooms in his portrayal of God in act two.   Additional props must be given to the excellent ensemble who kept me engaged throughout, especially Matthew Varelia, who I could not take my eyes off of the entire time (I loved when he gave the pregnant woman’s belly a motor boat in the opening number and my companion LOVED when he implored a guest to “kiss your mom”).  Timothy John Smith did a reasonably creepy job as Satan in act two, and though his voice was not the strongest, his “angry look” was a great fit and was a great contrast to his “warm up man” role in act one.  Michael Fennimore played an almost flawless Jerry, evoking both his vocal tone and his mannerisms, and gave him the almost vapid “everyman” quality that we have come to expect from the talk show host.  I was disappointed, however, by Jared Troilo’s portrayal of Tremont, the cross dressing, gay guest in the first act.  Besides his voice being off pitch throughout, he did a lot of shouting and vague wiggling as “choreography”.  It is such a fun part in the show and I was hoping for so much more character and vitality from Troilo.  He almost looked bored.  My only other point of contention was that while I appreciated Seth Bodie’s costume designs on the whole, they did impede movement and make things look difficult and awkward several times.  I wanted to see Shawntell dance on her poll but it was impossible in the get-up she was in, and Brian Richard Robinson’s portrayal of Jesus (hysterical as it was) was impeded by having to constantly reposition the pieces of his robe.

I often say to myself, you know what I need to see more in Operas?  Tap dancing.  So a final word about the production is my sincere thanks for the delightful tap numbers that were staged in act two and post curtain call.  There is nothing like seeing a dozen people dressed as KKK members doing a little soft shoe (by the way, props to cast and crew for shooting that hysterical KKK video in The Eagle, of all places!).  Watching them pick up their robes to reveal the pants and bare legs of the ensemble was a treat.  The post curtain call homage to Jerry Springer was the perfect way to end the show, tap shoes blazing, blond wigs bobbing, I left with a huge smile on my face.

SpeakEasy Stage Company still has over a week’s worth of performances left in this run, Wednesday through Saturday 5/20 – 5/30.  You shouldn’t miss it.  It’s worth a trip out to the South End.  Beware all you commuters, though, parking is limited!  Tickets at http://www.speakeasystage.com/

Joelle Lurie as Shawntel