Fizzy romance of Skylark Opera's 'Desert Song' is a good introduction to the art
by Rob Hubbard
Special to the Pioneer Press
June 14, 2009
A breezy bit of musical theater, 1920's-style.
If "opera" sounds intimidating to you, perhaps you should try its light-hearted cousin, operetta.
The Twin Cities' specialists in the style are the folks at Skylark Opera. And that reputation is enhanced by their new production of Sigmund Romberg's "The Desert Song," a Sahara-set romance from 1926. Shying away from hopelessly dated melodrama, Skylark instead plays up the work's comic elements in a brisk and breezy staging.
With several strong voices at his disposal, director/choreographer Randy Winkler has convinced his cast to embrace the spirit of fun bubbling beneath the surface of a story built around a familiar plot device: A heroic figure hides his identity behind a nerdish persona while an ingenue falls in love with his alter ego (think Clark Kent and Lois Lane). In this case, the leader of a group of Moroccan rebels, the Red Shadow, is actually the son of the French general entrusted with defeating him.
Skylark deserves credit for creating a production that feels very much like 1926 but doesn't seem at all a museum piece. Keeping in mind that they didn't call them "the roaring '20s" for nothing, the passion between the two lovers is palpable, and the dancers often push things toward the sexy side.
This production boasts strong leads in Craig Verm and Norah Long. Verm offers a convincing portrayal of the two-sided hero, using an impressive mix or lovestruck gentleness and hall-filling power in his songs. And long continues to raise the bar for acting quality in these kind of roles, bringing an astounding subtlety and depth of character to her part.
Alas, Romberg had a penchant for showing off his soprano's high notes without regard to making the text understandable. Long does her best, but the overly loud orchestra often submerges her words. And, when the score calls for a variation on operatic quartets or sextets – with multiple singers expressing different ideas simultaneously – it becomes a perplexing musical morass.
Despite such shortcomings, the show is an enjoyable slice of summer entertainment, thanks in part to Jon Hegge and Amanda Broge, who bring a welcome taste of Cole Porter fizz to their roles as a wisecracking journalist and his doe-eyed assistant.
Rob Hubbard can be reached at [email protected]
[return to The Desert Song press page]
Special to the Pioneer Press
June 14, 2009
A breezy bit of musical theater, 1920's-style.
If "opera" sounds intimidating to you, perhaps you should try its light-hearted cousin, operetta.
The Twin Cities' specialists in the style are the folks at Skylark Opera. And that reputation is enhanced by their new production of Sigmund Romberg's "The Desert Song," a Sahara-set romance from 1926. Shying away from hopelessly dated melodrama, Skylark instead plays up the work's comic elements in a brisk and breezy staging.
With several strong voices at his disposal, director/choreographer Randy Winkler has convinced his cast to embrace the spirit of fun bubbling beneath the surface of a story built around a familiar plot device: A heroic figure hides his identity behind a nerdish persona while an ingenue falls in love with his alter ego (think Clark Kent and Lois Lane). In this case, the leader of a group of Moroccan rebels, the Red Shadow, is actually the son of the French general entrusted with defeating him.
Skylark deserves credit for creating a production that feels very much like 1926 but doesn't seem at all a museum piece. Keeping in mind that they didn't call them "the roaring '20s" for nothing, the passion between the two lovers is palpable, and the dancers often push things toward the sexy side.
This production boasts strong leads in Craig Verm and Norah Long. Verm offers a convincing portrayal of the two-sided hero, using an impressive mix or lovestruck gentleness and hall-filling power in his songs. And long continues to raise the bar for acting quality in these kind of roles, bringing an astounding subtlety and depth of character to her part.
Alas, Romberg had a penchant for showing off his soprano's high notes without regard to making the text understandable. Long does her best, but the overly loud orchestra often submerges her words. And, when the score calls for a variation on operatic quartets or sextets – with multiple singers expressing different ideas simultaneously – it becomes a perplexing musical morass.
Despite such shortcomings, the show is an enjoyable slice of summer entertainment, thanks in part to Jon Hegge and Amanda Broge, who bring a welcome taste of Cole Porter fizz to their roles as a wisecracking journalist and his doe-eyed assistant.
Rob Hubbard can be reached at [email protected]
[return to The Desert Song press page]