Opera Review: Angels in America

by Mark-Brian Sonna of MBS Productions

Congratulations to the entire cast, crew, and creative team of Fort Worth Opera’s Angels in America. They have successfully tackled what is perhaps the preeminent play of the 1990s and turned it into a fascinating and compelling opera.

Angels in America is the famous play by Tony Kushner that won every major prestigious award when it debuted. The opus consists of two plays that together run about seven hours. The opera runs at two and a half. A lot is left out from the original script but the Libretto by Mari Mezei captures the essence of Mr. Kushner’s play. Peter Eötös has composed a score that is absolutely modern, yet most agreeable to the ear. New opera in the last twenty years has fallen victim to what I call “the uglies”. Ugly sounds prevail: dissonance, unpleasant harmonies, lack of or an excess of mechanical rhythms. It’s as if opera composers have gone out of their way to prove how unaesthetic they could be. The problem is that in their process of making their work cutting edge, the end result is it wears on one’s nerves and kills any interest the audience would have for the piece. A prime example of this was Thérèse Raquin by Tobias Picker of which I had the displeasure of attending the world premiere. Angels in America has its dissonant moments, but like Leoš Janáček’s Katya Kabanova, every discordant sound has a clear and precise purpose. It also helps that there are some moments of sonic sublime beauty.

The orchestra for this opera is unconventional: synthesizers are the main instrument. All the opera singers are miked in order for their voices to be distorted at times. Though there were some microphone glitches on opening night, the problem should be corrected by the rest of the run. Mr. Eötös creates a consistent aural vocabulary that reinforces the plot and the dialogue. The singers frequently partially speak and then sing their lines. Every note placed follows the flow of speech and accentuates the emotion. The only area where the opera loses its impact is near the end. “I want to live,” is repeated various times by Prior Walter near the end of the opera. David Adam Moore is a brilliant performer, for he had demonstrated his vocal and acting chops throughout the entire production. I could feel his palpable despair, yet musically the notes he was given to sing didn’t reinforce the pathos. As an audience member I wanted to cry for him. I had gone on an emotional journey for nearly two and half hours, and I needed the emotional release. The music became sullen, sparse and cold just when the emotions were reaching their apex. What should have been devastating was instead indifferent. This weakened ending flirts with derailing the entire opera, but fortunately it doesn’t.

The cast of Janice Hall, Scott Scully, Kelly Anderson, Craig Vern, Erin Elizabeth Smith and Daniel Billings, requires each performer to play three to four different characters. Their transformations both physical and vocal were so convincing that I had to double check the program to verify that it wasn’t a larger cast. All had wonderful voices, though they weren’t as operatic in sound. Vocally the fusion was between that of musical theatre and opera, and for this production it was perfect. The only diva sounding performer was Ava Pine in the role of The Angel, which was perfect. Ms. Pine gave her Angel a wit and level of humor that was unexpected. She also made the swiftest entry of anyone flying on a stage I’ve ever seen. When she descends from the rafter she does it at lightning speed: it’s startling and thrilling.

Director David Gately used the stage with an immense level of creativity. Every area was used both horizontally and vertically. The set design of Peter Nigrini had a grit to it that was correct for the urban feel of the piece. He did not mask or hide the supporting structure of the elevated platforms, nor how they were moved or placed on stage. The stage hands were all in costume and lingered on the set during the scenes adding to the atmosphere.

Claudia Stephens who did the costumes understood how color and texture can influence an audience, and she used it to the greatest effect. The enormous angel wings of The Angel measured several yards in width; and to make it even more interesting there was a special lighting effect that accompanied her costuming. Just as every character had a musical signature, there was a lighting signature that accompanied each actor. The designer, Nicholas Cavallero, amplified the character by the color, angle, and intensity of light: Roy Cohn was brightly and harshly lit, Belize was never fully lit, Prior Walter had the most natural light surrounding him, etc.

The success of this opera can best be measured by the person that accompanied me to the performance. She had never seen an opera in her life. I was afraid that this being a modern opera it might be less accessible and more difficult to enjoy. Being an opera aficionado myself I knew I had enjoyed it and was planning on recommending it, but would a novice enjoy it? The answer was a definite yes. She wants to come back and join me when I review other operas! I can’t wait to introduce her to Puccini…

The production plays on May 24, 28, 31, June 4 and 7. Purchase tickets online or by calling 817-731-0726.

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