BWW Interviews: Marty Regan and Kenny Fries Talk HGO's THE MEMORY STONE

Related: Houston, Houston Grand Opera, Opera, The Memory Stone, World Premiere, Japan, Tsunami, Chamber Opera

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Shortly after many children all over Houston had hunted lawns for eggs and other treats that the mythical Easter Bunny delivered this past Sunday, I had a delightful conversation with composer Marty Regan and librettist Kenny Fries for Houston Grand Opera (HGO)'s 50th World Premiere, THE MEMORY STONE. We discussed the new opera, looking into its creation, meaning, and cultural significance. As we talked about THE MEMORY STONE, it became abundantly clear that this particular opera is most deserving of being HGO's magical 50th World Premiere and that it will be one that audiences should not miss.

Me: How did you get started creating music and writing lyrics or librettos?

Kenny FriesKenny Fries: This is my first libretto for an opera. Basically, I had met Marty (Regan) in Japan in 2002. I was there researching a book, on a grant. So, ten years later, Marty asked if I'd be willing to write a libretto, and I said, "Sure." [Laughs] Previously, I wrote a sequence of poems while I was in Japan that was set for traditional Japanese instruments and voice. So that's the experience I had dealing with music, but I had never written a libretto before.

Marty ReganMarty Regan: I've been composing for about 25 years. I started when I was a teenager, basically with just improvisation and short jazz compositions. I began to write chamber music, orchestral music, and choral music when I was an undergraduate student at Oberlin Conservatory of Music. While I was there, I became interested in Japanese culture. Rather than going to graduate school for music composition, I went to Japan following graduation for three years. Upon my return to the United States, I was actually considering abandoning my dream to become a composer and instead pursuing a graduate degree in Japanese studies. One day I thought, "Why do I have to decide between one or the other? Why can't I do both?" So I put the wheels in motion to become an ethnomusicologist and specialist in working with traditional Japanese instruments.

From 2000 - 2002 I was awarded a scholarship from the Ministry of Culture of Japan, and became unmatriculated graduate student at Tokyo College of Music. I took applied lessons on most of the major Japanese instruments and took lessons with one of Japan's most prominent composers, who has since passed away. His name is Minoru Miki. And since then, I would say that probably 80% of my compsitional output has been for traditional Japanese instruments.

THE MEMORY STONE uses a combination of Western orchestral and traditional Japanese instruments. There's a string quartet as well as the shakuhachi, which is the end blown bamboo flute, and the koto, which is a kind of zither. The koto I use in this work has 21 strings. This is also my first operatic work.

Me: Is this your first time to collaborate with each other?

Kenny Fries: Yes.

Me: You said that you met in Japan, but how did that happen?

Kenny Fries: It happened very briefly at a concert for a mutual friend. There's a singer in Japan named Mika Kimula, and I got to know her. I was working on a song cycle project. I had heard Marty (Regan)'s music at a concert that Mika gave. At another concert, Marty was there and she introduced us.

Marty Regan: Right. I remember meeting Kenny (Fries) ten years ago, and he left a very strong impression on me. When I was hired to do this opera, there was no librettist that came on, and I was given the choice of either writing the libretto myself or finding someone who I could work with. I knew that Kenny has a deep affinity for Japanese culture and literature, so I sought him out, contacted him after a period of ten years, and asked if he would be interested in writing the libretto.

Me: What was your writing process for THE MEMORY STONE like?

Kenny Fries: My task was to write a story that had something to do with the Japanese-American community in Houston, so last May I came down for four days. Matthew Ozawa, the director, was also here. We arranged meetings with people in the Japanese community. Before I came, I knew there was a Japanese garden in Houston. I had written about gardens, and I was very interested in Japanese gardens, so I thought of my idea to set the opera in the Japanese garden in Houston. Also, because of the 2011 earthquake and tsunami in Japan, had some notion that I'd like to tie it to that in some way. So, just with two ideas, I started talking to people here in Houston, and luckily-almost accidentally-met a Japanese ballet dancer who danced with the Houston Ballet, Nao Kusuzaki. Talking with her, she inspired one of the characters in the opera. I just got other ideas from stories people had told me when I was speaking with them. Then, I had a few months to hand in the first draft, and I did that. I got feedback from both Marty (Regan), Matthew (Ozawa), the director, and the staff at HGO, then revised some, and gave it to Marty to compose the music.

Me: This opera is going to be Houston Grand Opera's 50th World Premiere, which is very exciting. Your show is the golden show. What does that feel like?

Marty Regan: Well, I mean... [Pauses and Laughs] God, HGO. It's just amazing what they're doing to support new work. And the fact that this work is in the same list of commissions as, for example, John Adams' NIXON IN CHINA, is such an honor. I'm really excited personally because what I do is very specialized. I'm a composer who specializes in traditional Japanese instruments, and, even in my works for Western instruments, I try to imbue them with a distinctly Japanese aesthetic. So, I really think it's just a miracle that this opportunity fell in my lap, and I have the opportunity to share my love and passion for Japanese instruments with the community here in Houston.

Kenny Fries: It's really amazing to be in the lineage with those other operas. 50 is always a magical number, so it's been quite a magical experience for me. I mean, collaborating with Marty (Regan) and Matthew (Ozawa), it's just been wonderful. And the support that HGO gives to the opera is really just fantastic.

Me: You've discussed this a little bit already, but what is THE MEMORY STONE about?

Marty Regan: Well, first of all, a memory stone is a sacred epitaph found in Japan to mark areas where a tsunami has ravaged the countryside and taken lives away. They still exist in Japan to this day. On one of these epitaphs is written, "No matter how many years have passed, do not forget this warning." This is one of the literary motifs that echo throughout the libretto that I adopted as a musical motif. So, that's what the title refers to.

In terms of the synopsis, it's set in the days following the March 2011 earthquake in Japan. A mysterious Japanese woman appears with a memory stone in Houston's Japanese garden. She's not literally carrying the stone. There is a shell that has been designed to represent the memory stone. Her presence cause these two Houstonian Japanese-American women, Rei and Hana, to relive crucial moments from their past, bond over their respective ancestry, and question how they can support those who have been devastated by the earthquake in Japan.

Kenny Fries: Yeah, I was talking with one of the singers last night, and she was talking about how, in her view, the piece is in lot of ways about home. And it's interesting to me because when I first went to Japan in 2002, I knew nothing about Japan. As soon as I got off the plane and started to experience Japan, I felt I had found a home, which was very odd. I mean, I'm a Brooklyn Jewish kid. [Laughs] So, it was a very interesting experience. I still feel that way when I return to Japan; I always feel like I'm going home even though I don't live there anymore. I think the opera has a lot to do with home, and it has to do with how we find ourselves by where we live or don't live, and how outside traumatic events, such as earthquakes, tsunamis, and things we have no control over, show us how to get through this thing we call life. So, that's I think embedded in the text. It's interesting watching them put the opera on its feet. I learn more and more about the text I wrote. I see it in so many different ways, through other people's visions of it now. It's really wonderful to see that. It's become even more multi-dimensional than I thought it was at first.

Me: What do you hope that audiences take away from THE MEMORY STONE?

Marty Regan: That's a difficult question. I mean, obviously I don't want to mediate their experience too much. I'm hoping that the opera speaks for itself. But, personally, as the composer of this work, what I was interested in doing-and this is tied to what Kenny [Fries] says, but I think perhaps on an even broader level-what I'm interested in is creating an artistic experience that reminds us how trauma and loss can help us reevaluate our past. And how since these are basic facets of the human condition, we can transcend suffering and find ways to reconnect with what is truly important in our lives, like family, ancestry, loved ones, our community, etc.

And I think, especially-I'm from New York actually-at the time of the World Trade Center bombing I was in Tokyo. So there's this beautiful line in the opera where Rei is singing, "After the flood, I couldn't get through." She's talking about the fact that the phone lines are jammed, so she couldn't contact her family in Tokyo. Well, for me, that line resonated because I was in Tokyo when I saw my city burning to the ground, and I was trying to get in touch with family, and I couldn't. So that resonated with me on multiple levels.

Look over the past decade. There have been many, many horrible events that have just ravaged the earth. There was the 9/11 World Trade Center bombings, there was the subway bombing in Madrid and in London, there was the 1999 tsunami in Southeast Asia, the bombings in Bali and Mumbia, Hurricane Katrina, and then the 2011 tsunami in Japan, I mean, it seems like the last decade has just been peppered with these terrible tragedies, and yet, as a human race, we persevere and transcend. And I believe we make ourselves better because of the experience. So, what I want the audience to be reminded of is that these types of events are unavoidable-it's part of human experience-and it is how we transcend them that is what really is important.




More On: Houston Grand Opera, John Adams, The Collective Unconscious,

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David Clarke David Clarke has had a lifelong love and passion for the performing arts, and has been writing about theatre both locally and nationally for years. He joined BroadwayWorld.com running their Houston site in early 2012 and began writing as the site's official theatre recording critic in June of 2013.



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