When word got out that the Academy Award and Grammy Award-winning composer of such legendary shows as Godspell, Pippin, and Wicked was trying his hand at opera, many scoffed -- or at least raised a bemused eyebrow in response. Why would an established spinner of jazz hands showstoppers and belting delights bother with a different artform at this stage in his career? Why would he leave the comfy world of musical theatre for opera?
Depending on one's definition of "musical theatre," Schwartz's Seance on a Wet Afternoon may well be an opera that wants to be a musical.
The Plot
The New York City Opera's presentation of Stephen Schwartz's Seance on a Wet Afternoon featured a marvelous cast of operatic actors who truly married voice, emotion, and intent to create complex characters believably swept up in the suspenseful plot.
The story surrounds "Myra," a medium craving recognition for her gift, who concocts a plan to rise to fame by committing a most dastardly deed: kidnapping a child so she can "find" the child, becoming a "hero" to the media. In league with "Myra" is her henpecked, undervalued husband, "Bill" who loves her and is willing to do anything for her -- even go along with her evil plan. Along the way, we meet the girl's parents, "Mr. and Mrs. Clayton," experiencing their agony while learning that "Myra" lost her son "Arthur" years before.
The show opens with "Myra" giving a reading to several narcissistic clients, and the tone comes across as a dark comedy. However, the first scenes gradually reveal the darker mission of the plot.
Calling it a "psychological thriller," Schwartz may have thought the material too dark for the musical theatre format (Sweeney Todd, anyone?). What makes opera the perfect vehicle for Seance is that opera allows the story to unfold gradually as opposed to the musical quasi-mandate that the plot be established and the first song started within the first three minutes of the show. Seance needs that time to breathe, to develop, like enticing bread dough that needs the right conditions and enough time to rise, so does the gently building tension in Seance to its masterful and unexpected conclusion.
The Show
Seance on a Wet Afternoon
NYCOOverall, the cast of NYCO's Seance is simply brilliant, expertly helmed by Scott Schwartz (yes, related). Lauren Flanigan is absolutely perfect as the complex "Myra," brilliantly showing the struggle of inner demons while coasting to an ultimately disastrous end. Schwartz's addition of new music in Act II for this New York premiere paid off as the audience gets a more clear picture of the pain that drives "Myra" to unspeakable acts.
As the grief-stricken "Mrs. Clayton," Melody Moore showcased a gorgeous vocal instrument, equally adept at soaring effortlessly to beautifully controlled high notes and bringing emotion and character to the forefront. Michael Kepler Mao, "Arthur," deserved a solo curtain call for his pitch-perfect soprano notes and impeccable diction at such a young age.
The standout performance belongs to Kim Josephson who plays "Bill." While it's easier to understand why a glory-hound like "Myra" would do what she does, only an accomplished actor and master storyteller could convince the audience why "Bill" goes along with her scheme. Josephson's gradual transition from the passive husband in Act I to an active, angry accomplice in Act II should be required study.
The Bad(?)
Little can be said in a negative way of Seance. NYCO engaged exceptional singer-actors to bring Schwartz's sad tale to life. To be nit-picky, a few points could be addressed, but only to improve an already wonderful production.
At times, the orchestra out-volumed the singers. In Act I, the pianissimo passages of the "Claytons'" tender duet were drowned out. Also, the softer, more nuanced vocals were difficult to hear throughout. Had the show employed some of the Valkyrie singing next door, the Seance singers could have powered through the score, but thankfully, they honored the quietness of the work to perfection. So yes, horror of horrors, body mics would have been nice, but having a real orchestra is a blessing compared to the pared-down bands that frequent musical theatre pits.
Matt Williams handled the choreography, though it was, more accurately, "musical staging." Williams' pictures and transitions were very effective, even if the chorus seemed uncomfortable with the movement. When the chorus entered as a gaggle of reporters, clumped together in the center of the stage with notepads and retro cameras, the tableau instantly recalled a similar scene in Chicago which also deals with the sensationalist press in the song "The Gun (The Gun, The Gun, The Gun, The Gun...)."
In two completely different but competent performances, Todd Wilander, "Mr. Clayton," could learn a few new hand gestures as he is prone to the beseeching-tenor-hands-in-front position. But the immaculate tenor voice of the unseen Michael Marcotte made the heart crave more of his lilting Irish ditty.
The Wrap-Up
Seance on a Wet Afternoon
NYCOThe New York City Opera's production of Stephen Schwartz's Seance on a Wet Afternoon is a wonderfully conceived and masterfully realized work of musical vocal art. Seance straddles the fence of serious musical theatre, yet rests comfortably in the realm of modern American opera.
A more brilliant leading ensemble would be difficult to find as the NYCO's chosen singers were first-class storytellers, their acting and body language every bit as important as their glorious voices.
If you get the opportunity to see Stephen Schwartz's opera, Seance on a Wet Afternoon, at New York City Opera, buy yourself two or three tickets; you will want to see it over and over again.
(And now that this opera composing phase is out of his system... Mr. Schwartz, The Musical is calling, and you're needed Stage Left.)
To order tickets to the New York City Opera's production of Seance on a Wet Afternoon, playing until May 1, 2011, please visit their website.
