Jane Austen's Persuasion at Chicago Chamber Opera
Barbara Landis's Production in NY September 14 & 15
By: Susan Hall - Sep 09, 2013
Persuasion, a Musical Drama
Created by Barbara Landis
Based on Jane Austen
Stage Direction Nick Sandys
Musical Direction Nyela Basney
Projected Scenery John Boesche
Set Design Rick Combs
Choreography Sara Stewart Schumann
Costumes by Emily Nelson
Cast: Barbara Landis, Jeff Diebold, John Boss, Nancy Wiebe Mazurowski, Maggie Clennon Reberg, Ryan de Ryke, Thomas M. Shea, Julie Bayer, Anne Marie Lewis, Brian Burkhardt, Kristin Johnston, Sarah Kropski, Jeanne Scherkenbach, David Wojtowicz, Brandon Burkhardt, Karissa Burkhardt, Dane Thomas, Paul Geiger, Christine Steyer, Robert Brady, Peter Vamvakas, Sarah McIntyre, Alexandra Torchinskiy, Gretel Mink, Kay Rutherford, Eric Landis.
Royal George Theatre, Chicago September 8
Dicapo Opera Theatre, New York City September 14, 15
Barbara Landis found Jane Austen’s language so perfect that she appropriated it as lyrics. Austen's text is set to music culled from her period. Landis, an assembler among her many talents, refers to this enterprise as a “mishmash.” It has however, nothing in common with ‘mashups’ that have crashed at other opera companies.
The music of composers from many different genres is so skillfully woven that it seems of a piece. Most successful musicals, from operas to rock, come through the sensibility of one person. This is Landis’ show, even if she has used Jane Austen’s story, Persuasion, and the music of Corelli, Haydn and an interpolation of Beethoven, as well as Scottish tunes Austen is known to have admired.
Like Gilbert and Sullivan, who wrote almost a half century after Austen, society’s silliness is often wittily and ironically presented. And like G&S, the nautical setting by the seaside, where three captains are friends, evokes Pirates of Penzance. Austen of course shared the G&S wit and a talent to hurl sharp barbs.
Austen loved music and Landis has culled her works to find apt references to songs and even to dance. A country dance The Perigodine, is taken from Austen’s manuscripts. A highlight of the evening are two rousing dances performed by Peter and Randy Dziack from the Trinity Irish Dance Company.
Nyela Basney, who assisted with the score, conducts the 12 member chamber orchestra with verve.
When Landis is not Austen, recounting her story to a niece and nephew, she steps into the action as Ann, the protagonist of Persuasion. Ann is a young woman who has aged before her time under the pressures of family life. In ‘before’ time, Ann was forced to reject her preferred suitor because he has neither pedigree nor cash. Their on and off love story threads through Persuasion. Landis portraying Ann etches out a marked transition from the dowdy, downtrodden character at the start, to a young woman blossoming in the gaze of several desirable young men.
The costumes created by Emily Nelson are delightful. The inventive use of projected videos enhances. We go seamlessly from salon to oceanside and even a concert hall. If chamber suggests pared down as well as intimate, this production, closeup, has a truly grand feel.
The book is treated as a series of vignettes, often tied together by Austen. Sometimes they are stylized portraits, at others, we are given full action. Dancing, which Austen loved, provides an opportunity for musical bridges. A delightful chorus gave the G&S flavor, which Landis may have osmosed from her many performances of their operas. Of course we have captains and crews here and pirates can’t be far behind
John Boss as Ann’s father, prances and preens before the mirror of the audience. Whenever domestic problems torture the characters on stage, Boss’ entrance lightens up the proceedings.
Director Nick Sandys did a terrific job of pulling the mini scenes together. All the performances worked perfectly. Stand out voices were Jeanne Scherkenbach as Mrs. Musgrove, Anne Marie Lewis in the thankless role of Mary Elliott Musgrove, and especially Christine Steyer as Mrs. Croft and a concert singer.
Barbara Landis has made several smart decisions which enhance her witty and confident production. The music from the period, even with a little cheating on the timeline, works wonderfully when woven together. If you have a strong Austen plot, why not try the words as drama and also as lyrics. They too integrated smoothly into the show. Clearly Landis knows her Austen through libraries and archives. There is nothing musty or academic. however, about what happens on stage. Persuasion thrives in this production with stunning vitality and wit.