Wozzeck, monumental et glaçant · 2018. 3. 30. · Berg. Au grand dam de son maître Schônberg, qui estime ce sujet impossible à traduire en opéra, il fignole une parti-tion où

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REVIEW

Date: 07.03.2017

Genève

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A l'Opéra des Nations, la machine à broyer ourdie par Alban Berg faitson oeuvre sans fausse note, dans la belle production de David McVicar

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Genève Au centre de la scène, impo-sant et glaçant, un gigantesque monu-ment aux soldats morts. Sous une statuenoire et sombre, une interminable liste denoms gravés dans le marbre: autant devies broyées et oubliées. C'est devant cetémoin que défilent d'une traite les quinzevignettes qui scandent l'écrasement decet anonyme, de ce pauvre diable deWozzeck. Houspillé de toutes parts, acca-blé par une angoisse irrépressible, il suitla pente inexorable qui le mènera à laisserson fils doublement orphelin.

Au terme d'une heure quarante d'unspectacle à l'intensité rare. à voir à l'Opé-ra des Nations du Grand Théâtre de Ge-nève, c'est sur cet enfant esseulé que serefermera le noir, au moment où il tentede tirer une grosse charrue à laquelleWozzeck était attaché au premier acte: ilvient de laisser de côté l'ersatz de chevalsur lequel il jouait à galoper. pour endos-

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ser symboliquement le rôle de bête desomme que son père lui lègue pourunique héritage. «Arme Leute!»

Machine à broyerReprenons... Au départ de toute l'affaire,un fait divers de 1824: un pauvre bougre,barbier et soldat, est décapité en placepublique pour avoir tué sa maîtresse parjalousie. Dix ans plus tard, ce météorefulgurant que fut Georg Büchner s'em-pare de cette histoire, la brise en frag-ments juxtaposés pour composer unepièce d'une modernité inouïe, qu'il n'apas le temps d'achever, emporté à 24 anspar le typhus. Ce texte fascine AlbanBerg. Au grand dam de son maîtreSchônberg, qui estime ce sujet impossibleà traduire en opéra, il fignole une parti-tion où chaque note est pensée comme lerouage d'une mécanique de haute préci-sion. mise au profit d'un expression-nisme exacerbé. Créé en 1925 avec un

Mark Stone(Wozzeck)et JenniferLarmore(Marie),devant lemonumentaux morts àl'Opéra desNations duGrand Théâtrede Genève.GTG / CAROLE

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succès immédiat. Wozzeck est presquedevenu un classique, sans rien perdrepourtant de sa force d'impact.

Le spectacle concocté à Chicago en2015 par David McVicar en est la preuveen acte. En un acte. pourrait-on dire, car

les trois actes sont enchaînés sans pause,ce qui met en lumière la logique d'uneinéluctable machine à broyer. Avec l'élé-gance toute classique qui le caractérise,dans un décor sobre et plastiquementtrès séduisant, le metteur en scène bri-tannique joue la carte d'un réalisme àhauteur d'homme.

Chaque note estpensée commele rouage d'unemécanique de

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FROMTHE

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BEAUX’STRATAGEM–2ndPlacePrize–2015AmericanPrizeforDirecting“Finesettingandcostumes,butmostimportantly,allactorsare“inthemoment”.Noteasytoachieveinperiodcomedy.Thehumorisbroad,asfitsthestyle,butabsolutelyfulloflife…ThisproductionbenefitsfromEllis’inspiredwork,focusedoninteractionandenergy,makingaverygoodcaseforthisdelightfulrestorationcomedy.” -Judge’sevaluationcommentsfromthe2015AmericanPrizeCompetition2014BestoftheTwinCities–OverallPerformance–LavenderMagazine

Arts & Culture

TheBeaux’StratagematTRP:DanielEllisGivesUnsungClassicaJoyousStagingByJohnTownsendJune18,2014

MeganDowd,WareCarlton-Ford,MarkL.Mattison.PhotobyRonRavensborg.

Divorcehasbeencommonplaceforsolongthatseemslikethenaturalorderofthingstomanypeople.However,inearly18th century Englanddivorce was seen as a concept that would threaten the stability of the class system.Wealthyfamilies married between themselves with the primary intention of securing and consolidating wealth. The workingclasses also had arrangedmarriages forwhich the a daughter’s fatherwould have tobe financially satisfied in somewayinordertograntinhisblessing.Forallclassesitputgreatpressureonyoungermentohaveassets.Suchmandateswerenaturallythecauseofgreatsufferingandgristforthemillofplayandfictionwriting.

In1707 lateRestorationplaywrightGeorgeFarquharwroteTheBeaux’Strategem,anenduringcomedyaboutpeopletrapped in marriage as well as the deceptive means to which some might stoop in order to procure a marriagepartner.Theplayopenedthedoortodiscussionaboutdivorceinawaythatcouldbeconsideredrevolutionary.

Theatre in theRoundPlayers ispresentingavivacious stagingofTheBeaux’s Stratagem that interprets theThorntonWilder-Ken Ludwig adaptation which the former began in 1939, the year after hisOur Town was first produced. Aquarter century after his death TappanWilder discovered his uncle’s unfinished scriptand approachedLudwig, whowrote Lend Me a Tenor, to hopefully finish it. In 2005 the adaptation was finally completed by Ludwig and itscrupulouslyhewstotheperiodandthespecificsofthesituationspennedbyFarquhar.DirectorDanielEllishasmadecertainthateverysinglesceneissimultaneouslywellspoken,madcapRestorationinstyle,andfluidlynatural.

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ThemercurialWareCarlton-Fordplaysplays JackArcher,a financially strappedyounggentlemanwhopretends tobefootmanforhisbestfriendandfellowfinanciallystrappedgentleman,TomAimwell(adistinguishedMarkL.Mattison).Themen leaveLondon tosearch ruralareas foracceptableheiresses.When theycheck in toacountry inn, they findthemselvesquicklyenmeshedwithBoniface(anearthyThomPinault), itscorrupt landlord,andthehighwaymenhe isinleaguewith.However,Boniface’sdaughter,Cherry (anendearingMissyHildebrandt)usesher limited influenceandunflaggingvirtuousnesstomaneuversituationsinthedirectionofwhatbytoday’sstandardswecouldcall,fairnessandequality.

AllofEllis’sbrisklypacedactorsportraythemachinationswithsaucyrelishandjusttherighttouchofgrandiosity.ThefabulousMarciePanianBerglundalmoststealstheshowatpointsasLadyBountiful,aquackdoctorwhothinksnothingof hacking off a limb or two as a curative.Megan Dowd brings crackling intelligence toMrs. Kate Sullen, a womantrappedinamarriagewithamanwhoisliterallyastinkingdrunk.

LindseyOetkenisperfectlydelicateasDorinda,LadyBountiful’sunmarrieddaughter.Ellisandtheplaywright(s)makeusvery aware that bothCherry andDorinda severely lackoptionsand thatthe typeofman theymight hope from theirdiffering societal vantage points is rigidly circumscribed by 18th century society.(Downton Abbey fanswill recognizehoweventwocenturieslaterlittlehadchanged.ItexemplifiesthesuffocatingclassrigiditythathelpinstigatetheonsetofWorldWarI.)

Farquharalsoboldlyskewersreligiontoapointthatcouldwellhavebeendeemedhereticalincenturiespast.JohnAdlerbringsfittingseedinesstotheroleofhighwayman/clergymanGloss,whodreamsoffinancialsuccessasapastorwhowilltake Londonby storm with his angry fire andbrimstone, Revelation-basedpreaching. Richard Choatedelights alegitimateparsonnamedFoigard,whosehyper-inflatedegooverrunsanyhopeofspiritualinsight.

FightchoreographerMikeLubkehascreatedoutrageouslyfunnyandmasterfulswordplayscenes.

AleutianCalabay’speriodchoreographyenhancestheRestorationperiodfeelalongwithSadieWard’sspot-onsetandRebeccaKarstad’ssumptuouscostumes.

AsgaysandlesbiansnowenjoytherighttomarryinMinnesota,TheBeaux’Stratagemisenthusiasticallyrecommendedasatoolforbothsoulsearchingandmarveloushumorasweconsidertheimportanceofloveandcompatibilityinsamesexmarriage.Farquhargivesuswiseandhilariouscounselthreecenturieslaterthatapplytogayandstraightalike.

TheBeaux’StratagemThroughJune22TheatreintheRoundPlayers,245CedarAve.,Mpls.(612)333-3010www.theatreintheround.org

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ReviewsandAcknowledgements:“ELEPHANT MAN PERFORMANCE WILL LEAVE AUDIENCESATISFIED…Theatre goers who take a chance with the WeekendTheatre’sproductionofBernardPomerance’sTheElephantManwillnot leavedisappointed for having spent a fewhours stepping intothe life and sensibilities of a grossly disfigured human being….It isclearly a difficult play to mount but rarely have I been as trulycaptivated by a performance….DirectorDaniel Ellis, cast, and crewmakeexcellentandinnovativeuseoflimitedspaceandpropstotellthestory. But therealstrengthof theproduction is thechemistrybetween the characters and the insight they provide into thecomplex lives they portray. Together they force the audience tomakeanassessmentof theirown lives, theirowndeformities,andtheirownpartintheElephantMansagasofeverytimeandplace.”—PHYLLISHEMANNTheMaumelleMonitoronTheElephantMan.

LLyricArtproductionofTheOddCouple

“I'mnotsureLyriccouldhavefoundamoreperfectOscar/FelixpairthanDonMaloneyandBillWilliamson.Boththoroughlyembodythelaid-backslobbiness/nervousfastidiousnessoftheircharacters.Andbothgivenaturalandlived-inperformances,totallyinthemoment,reactingtowhattheothersaysordoes.Partofthefuniswatchingeachwatchtheother.Bill(whorecentlyreturnedtothestageafternearly20years-welcomeback,sir!)isparticularlyendearingandimbuesFelixwithajitteryphysicalityasheslidesacrossthefloor,doingdoubletakes,constantlywipinghisbrow.Thesupportingcastisjustasgreatplayingthefourspecificallytypedpokerbuddies(ChristopherZanetti,DavidVandergriff,RickWyman,andSteveFlorman)andthegigglyPigeonsisters(AllisonHawleyandCaitlinWilkey).TheymakeagreatsitcomensembleunderthedirectionofDanielEllis,keepingthetonelightandthepacequick.”

—ReviewfromCherryandspoon.comofTheOddCouple

ProjectOpera’sTheShoesofSt.Nino“Everythingaboutthisshow—thewellcomposedstoryline,thequirkybutpowerfulmusicandlyrics,andtheimmenselytalenteddirector,DanielEllis,andhiscast—ismagnificent…Ratherthanconfininghiscasttothesmallstage,hemasterfullyusestheentiretheatretodeliverthisshow…theaudiencemissesnothingthankstoEllis’abilitytosortitalloutandtopresentitcoherently.”

—CHRISTYL.SMITHTheMaumelleMonitoronBloodBrothers.“Ellis’directorialendeavordeservesapplause.TheWeekendTheatreisasmallintimatetheatrethatlendsitselftosmallerproductions.Withacastofnearly20actors,ALittleNight Music needed perfect acting, directing, and choreography to fit The WeekendTheatre’s stage, andEllismake it happen. His production incorporated the smoothestscene changes I’ve ever seen at the Weekend Theatre…A Little Night Music offersinsights into the human conditionwhile offering entertainment at a grand scale. Themusic, dance, signing, and story captivate,making Ellis’ production one of the best inLittleRockthissummer.”

—LARRYLEMASTERSLittleRockFreePressonALittleNightMusic.“…theonstage activity is so real and convincing that there is little sign of any obviousdirection. Elliseitherdida flawlessdirectorial turnorhekeptoutof thewayof thesefineactors.Whateverhappenedinrehearsalshasledtoaremarkableproduction.”

—RONBALLARDTheArkansasTimesonTheSumofUs

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“12-YEAR-OLDATUNNER INHELENKELLERROLE…’MIRACLEWORKER’GETSMESSAGEACROSS…Theuninformedmightthinkit’seasytoplayablind deaf-mute; they might assume it’s done merely by stumblingaround, sitting still and taking swings at people, as young Helen wasprone to do. But it’s the look in the eyes, the facial expressions, thesubtle movements and mannerisms that really do make such a roleconvincing—and Dori [Scallet] has perfected all of the above as shetransforms from a spoiled, frustrated child trapped in a world ofdarknessandsilencetoayounglady,who,thankstoherteacher,learnshowtoproperlycommunicatewiththeworld.”—HELAINER.FREEMANArkansasDemocratGazetteonTheMiracleWorker

DanielEllisrehearsesblockingonstageduringtechnicalrehearsalsforMinnesotaOpera’sTurandot.

“ScarletWoman is a briskly paced, fast-talking, and very funny homage to film noir thrillers.AmericanactressesBrittanyParkerandCandySimmonsbothsparkleinportrayingahalf-dozencharacterseach,withtheaidofsimplecostumeandvoicechanges…therewardsofthisshowaren'tjustinwatchingtheGordianknotofintriguefinallyunravel(Twistending!),they'reinthewittybanter,thesharptiming,thenoiratmosphere,andthefirst-rateperformances.” —DEANJENKINSONCBCREVIEWonScarletWomen“Spoofingthefilmnoirthriller isawell-minedgenreonitsown.Youwonderhowtherecouldpossibly bemore gold to find. But ScarletWoman, written byMatthewWells, is a sparklinggem.LookforcleverwritinginaplotwithmoretwiststhananyMalteseFalconwannabecouldcontain, along with two talented actresses, Candy Simmons and Brittany Parker, who nevermissastepastheydisappearinto12separatecharacters.Thelinescomeasfastandfuriousasthe costume and character changes. This is witty stuff. It’s very, very funny, but it neverdisrespectsthegenrebydescendingintosilliness. —JULIECARLWINNIPEGFREEPRESSonScarletWomen

CandySimmonsinScarletWoman“SYPMHONY ‘TV SHOW’ GOES LIKE GANGBUSTERS…Five By Design has performed twicebefore in the pops concertswith theArkansas Symphony, covering the swing era in ‘ClubSwing’andradio’shaydayin‘RadioDays.’Nowthegroupisbackwith‘StayTuned,’atributetothegoldenageofTV,withjustasmuchmusicbutmoreelaboratestaging,includingsomefairlycomplicatedchoreography.Theshow’sworldpremièreFridaynightwiththeorchestraand music director David Itkin at Little Rock’s Robinson Center Music Hall went likegangbusters.”

—ERICE.HARRISONArkansasDemocratGazetteonStayTuned

”Five ByDesign’s ‘Stay Tuned’ included both forgotten gems and timeless favorites…deft,colorfularrangements…flawlessgroupsound…acompletevisualandauralpresentation…” —CASSEYMULLINTHEBELLINGHAMHERALD ProjectOpera’sGriffelkin

Documents

Wozzeck, monumental et glaçant · 2018. 3. 30. · Berg. Au grand dam de son maître Schônberg, qui estime ce sujet impossible à traduire en opéra, il fignole une parti-tion où