World premieres of new operas are fairly uncommon, although we’ve seen a few, such as Rio de Sangre at the Florentine Opera in 2010, and The Rivals at the Skylight in 2011, but it must be fairly rare for the average opera fan to be able to attend a premiere of an opera by a composer with which he is acquainted.
That was the singular experience we enjoyed on March 13th, as the Skylight Music Theatre opened The Snow Dragon, with music and libretto by Somtow Sucharitkul. During his career as a science fiction, fantasy, and horror author, Somtow had been author guest of honor at Milwaukee’s X-Con, and was remembered as an excellent guest, erudite, witty, and excellent company. Therefore, we had to attend. We got main floor seats as part of a block with “OperaCon” (of which more later) and had a very good time at this remarkable opera.
The opera is based upon a story by Somtow, called “The Fallen Country.” Inspired by the experiences of a friend, the story deals with violent child abuse and the generational cycle by which it is perpetuated. The story did not find a publisher for some years (It was vehemently, but ultimately fortuitously, rejected for inclusion in The Last Dangerous Visions--) until picked up for an anthology by Terri Windling. Since then, the story has been recollected, and was also substantially reworked as a Young Adult novel for Bantam. However, the opera libretto is closer to the original story.
The opera opens with a magical overture, during which we see the protagonist, Billy Binder (Luke Brotherhood), a young boy, rescued from a high place by firemen. We learn that it is a church steeple, and a mystery as to how he got up there, as well as how he got frostbitten in the oppressive Florida heat.
Billy is referred to the school counselor, Dora Marx (Collen Brooks), who recognizes the signs of physical abuse in Billy. In order to get him to open up to her, she encourages him to tell her what she thinks is his escapist fantasy, of finding his way into the “Fallen Country,” a cold gray land where there is no pain because there is no feeling. The Fallen Country is home to the marvelous Snow Dragon (Cassandra Black), who befriends the boy, but also to the sinister Ringmaster, who rules the world with “his whip of burning cold.” Billy, who has not yet given up all feeling, finds that there he can channel his anger into power and perform feats like breaking shackles and freeing princesses. He longs to meet the Ringmaster, who is the alter-ego of his mother’s brutal lover, Stark (Dan Kempson) so that he can kill him, but his anger doesn’t sustain him in the Fallen Country long enough to reach the Ringmaster. Dora thanks Billy for sharing his story, to which he replies, “It isn’t a story.”
In the second act, Billy is hospitalized by Stark’s brutality. Dora confronts Billy’s mother, Joan (Erica Schuller), who at first maintains that Billy had a bicycle accident. Then, she breaks down, saying that Stark isn’t a man, but “a force, a wind.” Stark, alone with Billy, whispers threats to the boy, which tell us that he, too, is aware of the Fallen Country.
Dora decides she has to call the police to intervene. When she comes with them to Billy’s house, Stark is sleeping, but talks in his sleep, saying, “I never asked to be hated. I never asked for the cold to sink into my heart,” and other things that let Dora know that the Fallen Country is indeed real. Stark becomes the Ringmaster, and opens the way to the Fallen County, dragging Joan with him, where she becomes the captive Princess. Billy pursues, but calls to Dora, telling her he needs her help and belief to reach and defeat the Ringmaster.
With Dora’s help, Billy gets to the Ringmaster’s tent lair, and the final conflict is initiated, with a twist due to the revelation of the Ringmaster’s dire secret.
Somtow’s libretto brings us the affecting story very effectively, and is totally integrated with the score. The music is both modern, and tuneful and sonorous, with just enough eerie effect for a magical plot without resembling a “Harry Potter” soundtrack in the least. Somtow achieves that rare thing in modern music, harmony, especially with the second act trio for the three female voices.
Artistic Director Vishwa Subbaraman, who also conducts, assembled an extremely talented and skillful cast and crew. Luke Brotherhood as Billy has a long and challenging role for a child singer, and did superbly well in both vocal and physical acting the part of the abused but defiant boy. Ms. Brooks was totally believable as the tired social worker who has seen too much, heard too much, and known too little success in her work. Strong and handsome, Mr. Kempson embodied the kind of attractive man that needy women are drawn to, only to discover his core of violence after it is too late. Ms. Schuller, as Billy’s mother also did an excellent job in the role of the conflicted mother/princess figure. The role of the Snow Dragon should be considered a plum role, and Cassandra Black inhabited it, sounding and looking magnificent in her glittering costume and spiky headdress. The orchestra presented Somtow’s score without noticeable flaw, and in excellent balance with the singers.
The setting, by William Boles, was largely symbolic, there being a small set of mundane rooms for Dora’s office and Billy’s house. The stark Fallen Country was represented by the bare concrete of the stage back wall, with bits that flew in and out, representing giant ice crystals, stars, and the circus ring emblematic of the entry to the Country. One puzzling bit was a number of pairs of white shoes dangling from ropes. (Even Somtow wasn’t sure what they were supposed to represent--). However, the best piece was the great Dragon, which, in flight, was represented by a twenty-two foot long puppet, borne aloft by the choristers, fins gently waving as it ‘flew’ about the stage, softly glowing under ultraviolet light. The elaborate lighting plot by David Gipson added greatly.
Costumes by Jason Orlenko were generally simple but effective. The “real world” costumes were subtly suggestive: Billy’s torn t-shirt, the color of dried blood. Stark’s sleeveless shirt, showing off his brawny, tattooed arms, emphasized his power and dangerousness. Dora’s lightweight and pastel colored ensemble perfectly portrayed an office drudge who hasn’t quite yet given up all hope. She clutches her leather messenger bag—her “baggage”—to her as though it were a teddy bear. Joan’s outfit of tunic top, Capri leggings, and flat Mary Jane shoes made her look like the most childlike of all the cast. The effect in which she changed her bathrobe into the elaborate Princess’ gown was just nifty—there’s no other word for it. The Ringmaster’s uniform was wonderfully elaborate with its own dark beauty—many young boys would have, at least figuratively, killed for it--.
The Snow Dragon captures and sets to music the problem of domestic violence against children, and plays it out as an Oedipal contest of wills, which, ultimately, can only come to an end when one party finds a strategy other than the obvious. It is quite powerful.
The Skylight has partnered with local anti-abuse groups and resources, including arranging to have a child psychologist on hand during school showings, and listed contact information in their Audience Guide for the production.
The Snow Dragon continues through March 29th.This entry was originally posted at http://sinister-sigils.dreamwidth.org/269938.html. Please comment there using OpenID.