Tweeting The Final Dress
Last night we had a final dress rehearsal and, as these things go, it was the kind of result I hope for. Lots of promise, but still room for improvement.
The Omaha Symphony’s sound and the acoustical walls of Bluebeard’s castle are a match!! Thank you, Julia Noulin-Merat and Andrew Eggert for creating this great sound environment. The lighting and video projection designs of Allen Hahn and S. Katy Tucker are stunning, as are the performances of Natasha Grimm, Claire Goodwillie, and Bret Samson from Ballet Nebraska. Nils Haaland as Bluebeard’s butler is perfectly cast. Of course, we are honored to have Samuel Ramey on our stage in the title role and the magnificent Kara Shay Thomson as Judith.
Hard work and careful assembly of a talented team of people has paid off for Opera Omaha. Kudos to Roger Weitz and his production staff of Steve Grair, J. Gawf, Blythe Watkins, and Cammy Watkins. They have stewarded this show for the past year with professionalism and elegance. I’ve been impressed with our wonderful Stage Managers, Sarah Hall and Jenna Link, and so happy to be working again with the crew and Opera Omaha Craftsman’s Guild at the Orpheum. It’s great to return to the Craftsman’s Canteen and it’s home baked treats!
Yesterday evening, Opera Omaha invited people to watch the final dress rehearsal and share their experience moment to moment through Twitter. I looked forward to reading what people thought. I find this format to be full of potential. There are compelling reasons for public discourse and communication about the arts in our world.
The creative artists of music, theater, visual arts, literature, design, dance, film, and opera reflected on what they saw around them. They had the opportunity to tell stories, share images, and give voice to those reflections. Experiencing art involves our ability and willingness to self-reflect. Art is communication that takes aim at the most important moments of life when the daily buzz quiets so that we can think. Art and social media share the desire to communicate life experience beyond the ordinary.
It’s exciting to think about what may happen when social media and art find a meaningful relationship. I appreciated the reactions and comments on Twitter from the Orpheum last night! People had interesting things to say. Thanks for the tweets and bravo Opera Omaha for starting the conversation.
The date is Sunday, April 14th, the time is 7:30 p.m. As I write this, I’m sitting in the 10th row of the gorgeously elaborate Orpheum Theater, and my Pandora radio is set to the Omaha Symphony, Kara Shay Thomson, and Samuel Ramey – oh, wait, no – this is real life, and we’re 30 minutes into the first joint rehearsal with singers and orchestra!
Seeing a whopping 70 members of the Omaha Symphony (including an extra brass section and two harps, ladies and gentlemen) incorporated so beautifully into the set for Bluebeard’s Castle makes me even more excited about Andrew and Julia’s concept for this production, if that’s even possible. Of course, seating the entire orchestra on stage for a staged opera is a very rare occurrence, but that’s not the only reason I’m so keen on it. I’ve already talked at some length about three of Bluebeard’s characters: Bluebeard, his newest wife, Judith, and the Speaker. Tonight, a fourth, and major, character makes an entrance – the castle itself.
Bluebeard’s castle is a living entity, and in Bartok’s groundbreaking score, the orchestra creaks and sighs; it moans and trembles. The symphony embodies the castle just as much as Julia Noulin-Merat’s amazing designs. It is only fitting that they are completely surrounded by, and made part of, the labyrinth that forms Bluebeard’s castle. Beyond all aesthetics, it truly is such a pleasure to watch wonderful musicians play such fascinating music.
*Oh my goodness, I have to interrupt this perfectly formulated blog post to report that Kara Shay is singing her first high C in the theater, supported by the entire orchestra. It is earth-shattering. Seriously, that note alone is worth the price of admission.
The next few days will be comprised of hours and hours of light and projection cues, spacing rehearsal with the dancers from Ballet Nebraska, a piano dress/tech rehearsal, and a wandleprobe (where the orchestra, singers, and blocking come together for the first time). This all leads up to the final orchestra dress on Wednesday evening, featuring Opera Omaha’s first ever Tweet Seats! Check in on Twitter at #bbcastle on Wednesday night for the first informal reviews!
And, if you are still ticketless, don’t miss out! Visit Ticket Omaha online or call 402-345-0606 to reserve your seats for either Friday, April 19 or Sunday, April 21.
We are now just over one week into rehearsals and each day one sees and feels the promise of the work. We’ve entered the heart of the story with explorations, shaping and dramatic choices being made by artists Sam Ramey, Kara Shay Thomson and Director Andrew Eggert. In the process, each artist offers so much personal energy and investment to make things work. I’m not sure that, when seeing the performance onstage, fans realize how much personal vulnerability and ‘give and take’ is involved in the music theater collaboration.
This particular way of telling stories seeks the emotional ‘Ground Zero’ of human situations. It asks a lot of the people telling us the story, the singing actors. If we were to decide today, that there was no value in bringing out the strongest, most extreme things that happen inside people when they are pushed to the limit, opera should stop today! Most of us would not like our personal lives to be like operas. It would be just too intense. Most of us seek lives inside a comfort zone that’s manageable.
Bluebeard’s Castle as brought to life by the young Hungarians Bela Bartok and Bela Balasz in 1911 and tells the story of a situation that is beyond most comfort zones. That’s a good thing in my opinion. Do you go to the movies to see something that is exactly like your life?
Bartok and Balasz explored the ‘what ifs’ of intimate relationships and situations happening on the edge of reality. The process it shows us something of how people behave in relationships, the conflicts they have, the resolutions they attempt, and the dangers they risk. As they say, nothing about this story is something you should try at home, but getting out of the house and our comfort zones is something that we need to do.
Join us for the performances of Bluebeard’s Castle next Friday night, April 19 at 7:30pm or Sunday, April 21 at 2:00pm!
If you’d like to sample the music and story ahead of time, join me for a short preview in the lobby 45 minutes before curtain. Enjoy!
Tickets can be purchased online through Ticket Omaha or by calling 402-345-0606.
The Newlywed Game + an extremely twisted episode of Let’s Make a Deal = love in Bluebeard’s Castle by Assistant Director and Guest Blogger, Allison Lingren
Monday night, there was a moment when Kara Shay Thomson, Judith, was marking (which means going through the blocking without singing at full volume) the beginning of the opera. All of a sudden, in response to one of Judith’s multiple requests to brighten the castle up, Sam Ramey dramatically proclaimed in his resounding bass-baritone: “We’re never going to turn the lights on!”
Not only was that moment hilarious, and made us all lose it for a second, it also got me thinking. If this were the Marriage of Figaro, the first 18 pages would be construed as Figaro and Susanna bickering over how high to set the thermostat and whether to leave the blinds open or closed. Then, the Count would probably come in and explain that the room next to his is much warmer, and Susanna should probably just sleep there…
But this is Bartok, and so opening material that, without music or subtext, could appear to be mundane marital discord over keeping the thermostat at a reasonable 68 degrees, instead plunges us headfirst into the script of Judith’s personal (and deeply psychological) episode of The Newlywed Game. Though Bluebeard is reluctant to invite her in, she overturns his repeated attempts to push her away by reminding him that she gave up everything– family, roses, sunshine, even a fiancée– for him. In a moment of total transparency, she admits that if he turns her away, he will find her collapsed on his doorstep. Judith gives herself over to Bluebeard completely and, in return, she demands access to his entire internal being.
This story probably would have a much happier outcome if Judith stuck to traditional Newlywed questions like “What candy bar would you choose to describe our love life?”. Spoiler alert: That’s assuming his answer isn’t “Milky Way Midnight and you will join Babe Ruth, Mars Gold, and Hershey’s Bliss Dark Chocolate in my secret candy drawer.” But that wouldn’t make for very good opera, and so Judith’s version of The Newlywed Game morphs into an extremely twisted episode of Let’s Make a Deal.
Stay tuned to find out what’s behind Doors Number 1-3!
Do you need tickets to see Bartok’s operatic masterpiece on April 19 or 21? Purchase them online at Ticket Omaha or by calling 402-345-0606.
The Many Lives of Duke Bluebeard
From the Prologue of Bluebeard’s Castle:
“The curtain of my eyelids is raised,
Take notice until it drops again,
Ladies and Gentlemen”:
My name is Allison Lingren, and I am the Assistant Director of Bluebeard’s Castle. It is my happy task to take notes on all the finesse and detail work that Andrew, Sam, Kara Shay, Nils, Hal, and Krisztina do in staging rehearsals so that as the work progresses, we can refer back to the ‘Aha!’ moments and make sure they remain a part of the production. In turn, I get to share these moments with you and throw the door wide open (pun intended) on the rehearsal process!
Last night, the entire team came together for the first time. Stage Director Andrew Eggert and Production Designer Julia Noulin-Merat walked Sam and Kara Shay through the maze of floor tape that will become a real life labyrinth of platforms and stairs when we move into the performance space on Sunday. In his Director’s Notes, Andrew mentions that the production concept began with the symbolism of the locked door, which then was multiplied to create an entire theatrical space. The interior of Bluebeard’s castle is a complex structure of doors and passageways that physicalize Judith’s inner turmoil as she attempts to navigate and uncover the hidden corners of Bluebeard’s psyche. One has to wonder if the end result would be different if she would just stop and ask for directions!
We began at the beginning, as would please the King of Hearts. The Speaker (or, as he is sometimes called, the Bard), played by Nils Haaland, addresses the audience directly in the spoken Prologue. In this production, the Speaker takes the form of Duke Bluebeard’s devoted butler, a man who has been with him for decades, or, we begin to suspect, even centuries. He has seen this story play out between Bluebeard and his wives before.
The original “Bluebeard” story, the children’s tale about a monstrous prince who cruelly murders his wives for disobeying him, is centuries old and has taken on many shapes. It originated as one of the Mother Goose tales written by Charles Perrault alongside classics like “Cinderella”, “Puss in Boots”, “Sleeping Beauty”, and “Little Red Riding Hood”. After its publication in 1697, “Bluebeard” quickly established itself as a standard in the realm of children’s literature in France, Germany, England, and elsewhere in Europe.
However, by end of the eighteenth century, the story began to be adopted and recast many times over by the adult world of literature and opera. Writers explored the psychological motives for Bluebeard’s murderous tendencies and saw him as a lonely man haunted by repeated disappointments in the never-ending search for love.
To Bartok and the opera’s librettist, Balazs, the story was a powerful metaphor for the difficulties that men feel in their relationships with women. And so the Bluebeard character in Bartok’s opera is not the predatory creature from the Perrault tale who shouts so fiercely at his doomed wife that his bellows “make the whole house tremble.” Instead, the moans and the trembling now come from the castle itself, an external manifestation of Bluebeard’s loneliness.
But I digress – back to the Speaker! Andrew sees this character as the conduit of the story, and he and Nils are continuing to experiment with the perfect blend of ingredients needed to create this slightly paranormal figure (part devoted butler of an aristocrat, part human embodiment of Theatre, and a splash of the circus barker with a slightly sinister smirk).
As work on the Prologue went on, our Hungarian language coach and accompanist, Krisztina Kover, pointed out that the score’s English translation actually leaves out the first two lines of the Hungarian text and begins with the 3rd line, which equates to the traditional “Once upon a time…” in English. She translated the first two lines on the spot, and it was decided that “A riddle, ladies and gentlemen” will be the opening line of Opera Omaha’s production of Bluebeard’s Castle. Krisztina even played us a recording of a prominent Hungarian actor performing the Prologue in the original language, which got Nils thinking about the Prologue as an incantation. Cool discoveries like that are what make the rehearsal process fun!
Well, I shouldn’t give everything away in my first post! Stay tuned to the blog, where I’ll continue to expose more of the secrets of Bluebeard’s Castle, at least until Andrew decides I’ve said too much and shuts me up in a room with the three previous Assistant Directors…
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