Brilliant OPUS at Everyman Theatre
With the Baltimore-Washington premiere of Michael Hollinger's new play, Opus in a newly reconfigured (in-the-round) space, Everyman Theatre is putting us on notice that surprising things are headed our way this season. Directed by John Vreeke and performed by a near-flawless company of actors, Opus is the first of the new season, and the best Everyman has produced in 2006.
A theatre-lover's dream, this "dramedy" takes the audience into the world of string quartets, of which, this reviewer admits to very little knowledge. In fact, I was a bit concerned before that show that it might be a bit hard to follow were it too technical. What a relief to report that that is in no way the case. Hollinger does, in fact, use much musical jargon and throws around names of classical artists as if they were all common knowledge. But it is the way he uses them and the expert delivery of the lines by the cast that makes this potential quagmire crystal clear. In most ways, actually, the world of classical music here is little more than background music. One of the play's many strengths is the accessible use of that world to create an exquisite metaphor for any passion people have, be it musical, artistic, or even fantasy football. Anyone with a deep, true passion for anything can relate to this piece, and that is no small achievement.
The story follows the members of an internationally famous string quartet from the audition of a new member through to a career-making appearance at the White House, playing what is arguably the most difficult piece written for such a group, Beethoven Opus 131. It was the pinnacle of Beethoven's career, and looks in many ways to become the pinnacle for the quartet as well. Throughout the 90 intermission-less minutes of the play, we become witness to the inner workings of artists working, their passions in and out of rehearsal, and the unfortunate events that led to the need for finding a new member. The play moves fast, and is very carefully constructed, where words and phrases build, ebb and flow much like the very music the characters are playing. Hollinger clearly knows music, and has crafted a piece of theater much like a composer would a piece of music. The themes interweave, playing against each other, creating a crescendo of climaxes building to a shocking finale.
Rumor has it that Hollinger is still at work on the piece - I hope he doesn't tinker too much, but there are few very small areas where the script itself might improve. First of all, even though he is careful not to mention any specific president (and we'll assume this piece will outlast George W. Bush), the jokes about "the president" are just a little to "easy-way-to-a-laugh" for an otherwise smart, funny play. Second, while gay couples being portrayed on stage is now only shocking if they AREN'T included in a modern script, the otherwise interesting dynamic created by the situation the two men are in is marred by a perilously close-to-stereotype of one of the pair - think of a swearing cross between Felix Unger and Niles AND Frasier Crane. And finally, the build up to the ending is simply thrilling, and ultimately gasp-inducing, but it could stand to be a little less pat - all of the strings (no pun intended) are a little too neatly tied together all at once. Still, these are very minor quibbles in comparison to the overall mastery of the script's language, pacing and thematic structure.
One has come to expect excellent production values and fine, professional acting at Everyman, but this production really kicks all expectations up a notch (or four). It is superb in all aspects - design, direction and acting. In a giant departure from Everyman's previous proscenium style stage/seating structure, the space has been reconfigured to in-the-round. With this play, it gives one the sense of being able to look in at a very top-secret lab experiment, and also of participating as the audience the quartet performs for - a nice touch which only adds to the themes and lends an interesting intimacy to the evening. Mr. Vreeke's direction mirrors the script - his staging and pacing of the dialogue are like watching each note on a sheet of music come to life. Each step, each placement, is carefully constructed to help the flow and to guide the audience's eyes, and to abruptly stop it as well - music has rests, after all. Just like the musical geniuses they play, the actors move with a combination of grace and almost stealth as they and the play give and take.
James Kronzer's set design is gorgeous, again both simple and complex. A beautiful pattern of inlaid wood and elegant framing over the audience at once evokes a simplicity and an intricacy, matching Beethoven's music. The set is stunningly lit from all angles, including the floor, giving an almost art-like quality to the deliberate (and subtle) stage pictures created (lighting design by Jay Herzog). Each careful arrangement of chairs and music stands offers a sweet variation on a theme. And much kudos must be given to sound designer Chas Marsh and sound operator Andrew Gaylin who flawlessly recreate on cue (there must be literally a thousand cues) a string quartet at various levels of performance, from warm up to rehearsal to performance. (Music consultant Teresa Perez must also be given credit.)
All of the most beautiful design and direction in the world would be of little good without a top notch cast to execute the play. Again, Everyman has lived up to its sterling reputation in this regard, featuring a near-perfect cast of five, who clearly love what they are doing, and the chemistry - the "it" factor, if you will - that is impossible to describe and nearly impossible to force into creation is evident between every actor. The cast features only one Everyman resident actor, Kyle Prue, who gives a completely unaffected, realistic and charming performance. His role is often called upon to be the middleman and Prue delivers a nuanced character that could have easily been a bore or a stereotypical manipulator (many actors in this situation take that route whether the script dictates that necessity or not). Instead, he is funny and deep - a fascinating combination. As Carl, the easy going member with a painful secret (when revealed on opening night, the gasps and instant empathy were loud and palpable) Stephen Patrick Martin also gives a delightful performance. Like all of the best actors, both he and Kyle Prue let their faces do a lot of the work. So much is said by both actors with a simple glance, reminding me again how great live theatre is. Sharing those quiet moments live offers a thrill unparalleled.
The other two original members of the quartet, Elliott and Dorian, closeted lovers for years, are played by Peter Wray and Karl Kippola, respectively. While it really comes as no surprise that they are revealed to be lovers, aside from the slightly stereotypical hissy fits and neat-freak nerves Elliott displays, this gay relationship is presented to us in its decline. This device is cleverly and realistically integrated in the script by Hollinger, who, thankfully, doesn't further weigh things down by having one of them ill with AIDS, but rather depicts the unraveling of the relationship with a complex and completely relatable set of issues - for once, you don't have to be gay to get this. Dorian could just as easily be a woman, for example. Kippola is mesmerizing as he slowly doles out every layer of his character - so slowly that like a mouse with cheese in hand, the audience realizes that they have been caught off guard in his subtle, deadly serious game of manipulation. Wray, saddled with the more stereotypical role, makes the most of it, even his hissy fits (most thankfully) are controlled and at least interesting. And in the final scene he is absolutely riveting.
The find of the evening, though, is the young actress playing Grace, McKenzie Bowling, who makes her Everyman debut with Opus. She acts with such subtlety and, well, grace, that it is hard to take your eyes off of her for fear you'll miss anything she does. She is masterful in her vocalization - her pauses and breaths are just as poignant as the words she speaks. Bowling is so honest and real in her performance you never for a second feel as though she is acting, let alone reciting learned lines. Her name is one we are certain to see again. Brava!
Certainly, this is one of the best evenings I've spent at Everyman this year; and what an auspicious start to the new season. You will not want to miss this compelling, thrilling evening of theatre. Music lovers, theatre lovers and anyone with a deep passion for something they love would do well to attend Opus.
PHOTO: (L to R): Peter Wray, Kyle Prue, Stephen Patrick Martin and McKenzie Bowling. Photo by Stan Barouh.