ORPHEE+ by Gluck/Berlioz (Against the Grain Theatre). At the Fleck Dance Theatre (207 Queens Quay West). Runs to April 28, 8 pm. $40-$110. 416-973-4000. See listing. Rating: NNNN
On the week of the Toronto van attack, how moving to see an opera about grief, love and the desire to turn back time. Its no wonder there was lots of sniffling on opening night during Orphee+s more poignant passages.
Not that this is a straight production of the opera anything but.
Based on the classical myth of Orpheus and Eurydice, Glucks 1762 original (which he revised for the Paris Opera in 1774), was adapted and remixed by Hector Berlioz in 1859. And in the same spirit, the brilliant team at Against the Grain Theatre have added other elements to this baroque gem to update it yet again for our plugged in, multitasking eyes and ears.
From the eerie rumblings in John Gzowskis sound design to the projections of dozens of faces presumably the dead onto vertical banners (S. Katy Tucker designed the set and projections), this is a proudly multimedia work. The pre-taped chorus is virtual, with director Joel Ivany letting the voices come from various places in the theatre, creating an immersive and at times unsettling experience.
And thats just in act one. Later acts plunge us into the depths of hell (cue deliciously suggestive flames and colours from JAX Messengers lighting design) and then the dark-hued Elysian Fields and the cloud-capped upper world.
Accompanying us on this journey are members of Company XIV, a New York City burlesque troupe who, clad in Zane Pihlstroms sexy costumes and strutting through Austin McCormicks choreography, suggest everything from Vegas dancers to a BDSM party.
And youll likely never again see the character of Amour sung by a woman (Marcy Richardson) outfitted like Lady Gaga, singing her arias while cavorting suggestively from an aerial ring suspended from the ceiling and occasionally dispensing sequins.
These elements add flash. But the heart of the piece lies in Orphees (Siman Chung) desire to bring his beloved Eurydice (Mireille Asselin) back from the dead, and its felt in Glucks music particularly Orphees grief-stricken passages and Eurydices confused entreaties.
Despite the distracting eye candy, the performers communicate all this with clarity and beauty of tone. Chungs countertenor, in particular, has an otherworldly timbre thats just perfect for the operas liminal space.
Conductor Topher Mokrzewski helms the score with verve and energy, especially the opening of act two. Neither Gluck nor Berlioz could have imagined an electric guitar in their orchestra, but its snarling, anarchic sound is just perfect for the introduction to hell tradition be damned.
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