Harmony and Discord Combine in 'Opus'

Opus

Written by Michael Hollinger, Directed by Jim Petosa, Scenic Design by Cristina Todesco, Costume Design by Eric Propp, Lighting Design by Scott Pinkney, Sound Design by Benjamin Emerson, Production Stage Manager Amy Weissenstein

CAST: Shelley Bolman, Alan; Benjamin Evett, Dorian; Michael Kaye, Elliot; Becky Webber, Grace; Bates Wilder, Carl

Performances through April 17 at New Repertory Theatre, Arsenal Center for the Arts             Box Office 617-923-8487 or www.newrep.org

Michael Hollinger is a hyphenated man; a violist-turned-playwright whose 2006 work Opus is beautifully rendered in its New England premiere at New Repertory Theatre at the Arsenal Center for the Arts in Watertown. Jim Petosa directs an ensemble of five who play together as seamlessly as the fictional Lazara String Quartet created by Hollinger. The author masterfully matches the personality of each character to the instrument he or she plays, and the cast of local actors fit their roles perfectly.

Music and interpersonal relationships drive Opus, especially the dynamics of a small group of über talented artists who are trying to be both egalitarian and individualistic, whatever best serves the quartet. The conceit is that the group is the subject of a documentary, thus giving the members a reason to step forward to speak to the audience and explain something about their cohorts and the history of Lazara. It works as a way for us to get to know them a little better as individuals, as well as part of the whole, and sets up occasional flashback scenes.

In the present, three of the musicians are auditioning candidates to replace their volatile violist Dorian (Benjamin Evett) who has disappeared after a falling out with his lover Elliot (Michael Kaye), the first violinist. They are notably impressed with the skills of young Grace (Becky Webber) and offer her the opportunity of a lifetime, to join the quartet as they are preparing for a high-profile performance at the White House. Alan (Shelley Bolman) warms to her quickly, but is warned by Carl (Bates Wilder) about mixing the personal with the professional. As it is, each of the four is dealing with personal issues that eventually spill over into their work and threaten to undermine the very existence of Lazara because they take everything personally. The playwright continually blurs the line between the two worlds in order to raise more questions and create conflict.

Hollinger tells us that a string quartet is "one good violinist, one bad violinist, one former violinist, and someone who doesn't even like the violin." The first violin is the highest pitched and spawned the phrase "high-strung" which perfectly describes Elliot. He is a prima donna who often tries to take the lead in this democracy, but the others remind him that there are four equal votes. The role of the second violin (which suits Alan) requires greater subtlety, while rivaling the musicianship of the first. At first, Carl appears to be a jokester, but he is more than that. Like the cello he plays, he provides a steady grounding and acts as a firm foundation. He doesn't say a lot, but his words have great power when he does speak. With a pitch that falls between the other instruments, the viola contributes to the quartet's tone, color and mood, increasing the complexity of the sound. With Dorian, there is a battle between his gifted artistry and his emotional demons, while Grace brings different skills to the table. Regardless of who sits in that fourth chair, something is gained or lost. Eventually, there will be additional personnel changes, but it's all about the chemistry and the best interests of the quartet.

As you might expect, Opus is infused with beautiful string music. Although it is pre-recorded, the five actors mime the motion of bowing their instruments and look authentic in terms of their posture and hand placements. The only thing lacking in their representation is the movement that indicates vibrato, but their body language and facial expressions reflect the bliss they find in the playing. This same ardor comes across when Dorian is talking about a particular piece of music or lovingly displaying two new instruments to Elliot, and all five exhibit artistic passion throughout.

There isn't a lot of action and the set consists of four chairs and music stands, so it is truly incumbent upon the actors to convey what is going on here. The music is like another character, or a life force, to which they all respond in their own way. It is moving to watch the relationship that each has with the music; how it builds them up, comforts them, destroys them, or saves them. Ultimately, they share the feeling that music is life and you play your part the best you can. That is what this ensemble cast is doing in Opus and they more than meet the demands of the work.

 

 

Photo by Andrew Brilliant/Brilliant Pictures (Shelley Bolman, Michael Kay, Becky Webber, Benjamin Evett, Bates Wilder)

 

 

 

 

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