I went for the Glass, he went for the Kafka.
May 5. While apparently the rest of the city was freely downing Cinco de Mayo tacos and tequila, we attended the final performance of the production of the opera In The Penal Colony at The Studio Theater CSULB. This is a fine small auditorium, well planned and comfortable. That comfort is essential for full attention to be given to the many aspects, somber and sober, of this excellent (with caveat) production.
First, the raison d'être for my attending. I find that this opera is one of Philip Glass' most stunningly beautiful. The string quintet, though mounted out of sight, was the engine for this brilliant study of a killing "machine". The strong voices of tenor Doug Jones and baritone Zeffis Quinn Hollis were superb. I consider this an important work well developed and well measured by conductor Andreas Mitisek.
I would not want to engage in criticism out of my realm. The book of Kafka's short stories is bedside awaiting me to pick it up. Somewhere along the line in the twentieth century, opera went slightly mad in its desire to stage productions that meet modern needs. (Next season's King Arthur [as a comic book superhero] by Henry Purcell in collaboration with whimsically juvenile-loving Musica Angelica arouses much curiosity. Get ready kids.)
Kafka wrote of inhumanity and absurdity of humans over a hundred years ago. The added text from the student's ensemble personal incarcerations diminished that theme. There was an important point to make, no question, but youth personalized stories led to unanswered questions and reduced their message. Corral students freedom of speech, really? Really that's the kid's sugar treat. Poor staging revolved around stomping students many with muddy line delivery. Stage direction to place them behind a stark curtain (à la Julie Taymor, à la wayang kulit) and silent for ultimate expressiveness was inspired. Poorly developed as a Greek chorus but when given the opportunity to act, Morgan Pimental, John E. Pizzini, Matthew Limas and especially Mark Oliver ably shone through the ponderous choreography. read more