Archive for the ‘kabuki’ Tag
It’s that time again! I’m serving up my second annual Top 10 LIVE Performances of the year. It’s a follow-up to my ‘09 list. Sadly, there are no Broadway shows on this list. I plan on remedying that in 2011!
1. Die Walküre, San Francisco Opera (Details)
This production offered one of the finest casts that could possibly be assembled for this opera (and The Ring) in the current operatic landscape. The production said some new things, and offered a few fresh perspectives, but didn’t try too hard, or overshadow the score. Maestro Runnicles is a Wagnerian master, and he and the orchestra rose to the occasion again. Yeah, I was a “Supernumerary” in the production, but I was able to watch much of it from the orchestra during rehearsals, and even accounting for my bias, this would still takes my top spot. Enjoy my full review here.
2. Scalpel! The Musical, Brava Theatre (Details)
Can you say fun? It had me at the opening number, with countless heals and drag runway walks. It was the first show I’ve seen in the Brava, and I immediately loved this venue…the warm lighting, the urban ambience, and the straight, raked seating offering direct views. Even with all the camp and hijinks, the entire cast was completely committed to the material. This was the second mounting of the show, and my fingers are crossed that it returns yet again. Apparently, there was a bit of a curse on the production, with multiple cast injuries (including a very unfortunate broken leg for leading man, Mike Finn), but they pushed through, with some quick and fortuitous replacements and prevailed. Picturing Sara Moore as “poop-raking” TV reporter Kitty Kelly (“Hardballs” host) still makes me laugh.
3. Heidi Melton: Salon at the Rex, The Rex Hotel (Details)
To hear Heidi Melton plead in spoken french AND debut her chest voice was alone faint-worthy, and positively scintillating. And, to hear her in repertoire much outside her core operatic rep and comfort genres was a treat (ie: Irving Berlin and Kurt Weill cabaret, and Korngold songs). Her rendition of Berlin’s “Always” left not a dry eye in the audience. (Her Noe Valley Chamber Music Recital a few weeks before was also very beautiful). No thanks to the Adler “Future is Now” concert, which was on the same night, the recital was over all too soon (evidenced by a jcm quotation here and here)! I stuck around and imbibed and dined at the bar…I wanted to savor the spell Heidi had cast.
The Adventures of…
“Look! Up on the stage! It’s a samisan, it’s a parasol, it’s SUPER-KOKEN!
Slower than a drifting glacier, more stealthy than a leopard on the hunt.
Able to spin the turntable in a single hook.”
Further Feats: 40 minutes of standing in a demi-plié, 6 child’s poses, 30 minutes in a forward yoga lay, 16 turntable rotations, 1 death-defying silk drop catch, and more!
But, don’t all superheroes have baggage? Thus, I deliver my diagnosis of the Koken: In need of treatment for OCD and chronic inefficiency. These Kabuki-inspired characters in San Francisco Opera’s Madama Butterfly (of which I am 1 of 6) unfailingly offer up perfectly aligned prop placement and table settings, and impossibly measured, controlled movement. SICK!
From a serious perspective, I love exploring and learning different kinds of movement (and dance). Ours requires us to be very in sync, and move nearly as one, in an energized, yet internalized way (like the Tai Chi we trained in). It’s been the best workout I’ve gotten in ages (boy, those pliés are GREAT for the inner thighs!). I’m also savoring the meditative, spiritual practice I’m experiencing through the incredible presence this technique requires.
Given that our all-black costumes are very much like those of a ninja, our presence lends an air of intrigue and gravitas to the unfolding of the proceedings.
Demystifying Illusion & Stagecraft (WARNING: SPOILERS)
I’m amazed at how transforming the art of illusion and stagecraft are, when used so masterfully. Up-close and unlit, the set shows its almost 30 years, and doesn’t really “sing”…BUT, when lit, and from the house, it emerges full bloom into a seemingly living and breathing world. The fiber board panels with overlapping green carpet look like REAL stone and earth. The perforated metal panels that up-close look too thick and heavy-handed, appear exactly like paper screens. GENIUS!
The technological trick that enables the crew to rotate the turntable a calculated amount each time is a crafty system that includes UV painted numbers on the TT rim, that when black-lit from the side are visible only to the offstage crew. This ensures exact placements every time. WOW! Yes, the cat’s outta the bag, the Koken only pantomime the TT rotation, but it’s still a workout to make it look real, with right degree of physical tension.
Honored & Humbled
I’m about to embark on one of my most exciting stage opportunities to date. Tomorrow night I dive into rehearsals for the San Francisco Opera production of Madama Butterfly. It’s the acclaimed 1982 Harold Prince (Phantom of the Opera, Sweeney Todd, etc.) production from Lyric Opera of Chicago, most recently seen in LOC’s ’08/09 season.
I’ll be one of six Koken, a Kabuki-style performer and stage assistant/
attendant. Traditionally, their duties include assisting the leading cast with properties and costumes, helping create special and supernatural effects to propel and enhance key plot points, and acting as puppeteers. Although done discreetly, all of this is done onstage, in plain view.
From Behind Black Cloth
We’ll be clothed in all-black costumes, including a robe with cloth belt, partially transparent, veiled hood, cloven boots, and gripper gloves. They are not unlike tailored, ninja costumes to my eyes. In my surfing (aka research), it seems as if our costuming may more accurately define us as a Kurombo (meaning “black fellow,” for the costumes), rather than a Koken (meaning “assistant”). They serve the same function, but are typically costumed differently. Read more about Kabuki and Koken history here, here and here.
Apparently, in this production, the Koken are onstage for most, if not all of the performance. There are extended sections in which only the Koken are onstage, including a 30-minute ritualistic pre-show, involving the set up of various props, which will also be repeated at intermission.
The production also features a turntable that rotates over 25 times in both directions. The Koken connect sturdy hooks on thick ropes to slots on the turntable to simulate its turning. Thank goodness this one is ALL illusion! (Although, it sounds like I’m going to still have to have really good knees.) I don’t want to reveal any of the other illusions, lest I spoil the surprise element. There is an effective, almost jewel-box-like intimacy to this production, as you can see in the photo above, perhaps necessitated by the turntable.
Tai Chi Preparation
In order to help us master the specificity of movement required, we will be training in Tai Chi. with Cory Chan of Kei Lun. Training in a 700+ year old Chinese martial arts practice for a Japanese-themed opera, you ask? (I asked the same thing.) Well, I’d never done Tai Chi, but the small sampling of it I got in the audition whet my palate, as it seems the perfect balance of meditation and dancer-like movement. It’s a great way to really “get in” one’s body, and the intricate sequences will help prepare the mind for the staging sequences that will be asked of us.
Performances are October 12th through November 27th. Buy tickets here. Our cast will include Svetla Vassileva / Daniela Dessì (Cio-Cio-San/Butterfly), Stefano Secco (Pinkerton), Quinn Kelsey / Brian Mulligan (Sharpless) and recent Adler grad Daveda Karenas (Suzuki). Nicola Luisotti / Julian Kovatchev will conduct, and SFO regular Jose Maria Condemi will direct this remounting.
Here goes…I’m ecstatic! How lovely to be able to add a Puccini opera to my previous experiences in a Verdi, Wagner and Philip Glass opera. This opera has never been one of my favorites (other than the few obvious musical highlights), but I’m sure this experience will spark a new love affair with the score.
I leave you now with arguably the most famous selection from the opera, sung by a legendary Cio-Cio-San: