Review: GROUNDED at Kennedy Center

The beautiful blue skies that Jess, an F-16 fighter pilot in the U.S. Air Force, soars through from the mighty heights above soon become mottled with dismal greys ---as she plummets into mental despair and confusion after being Grounded. In the paradigm-changing opera which is a World Premiere by the Washington National Opera, Jess continues to work (after pregnancy, marriage, and having a daughter) as a professional who pilots drones remotely from a trailer park in Las Vegas.

This information (Libretto by George Brant based upon his play) about this fascinating character is imperative to absorb –amidst other information about the military world and its effect upon the domestic life that the character must keep in balance. The virtue of this production is that the story of Jess never gets lost in the totally immersive technology of the “boundary -pushing” (as the printed and digital program defines it) and groundbreaking set design by Mimi Lien.

The audience sees the fourth wall being totally stripped away by this groundbreaking LED immersive technology and, consequently, is compelled to identify with the justified angst and disorientation of the central character to a very large degree.

Acclaimed Director Michael Mayer and choreographer David Neumann keep the stage alive to shifting moods to such a propulsive degree (Military life is shown on one level ----while domestic life is shown on another –applause greeted the opening scene. Monitors bleep and show static ---while projection design by Kaitlyn Pietras and Jason H. Thompson shows actual remote drone footage, etc.) that I was constantly aware of the larger implications of dissonance and stress that arise from the use of remote technology and the blurring of domestic and military life.

To this opera’s advantage, the very textured music of the deservedly lauded composer Jeanine Tesori is alternately sweeping, plaintive, elegiac, whimsical, satiric, mocking, poetic or emphatic (as the libretto and mood delineated) and underpins the more polemical and didactic strains of the opera with an adroit tone.

Tesori’s music deftly underpinned the more expository scenes in act one of the opera as well as the disorienting aspects of the psychological disintegration and stress of the main character in act two (while also illuminating the horrifying reality of killing from a technical device operated thousands of miles away from a perceived target).

Conductor Daniela Candillari has the extra task of keeping the audience immersed while so much scenic effect and digital –LED Effects are coming at the audience –jolting us out of the usual preconceived operatic expectations. Ms. Candillari sensitively conducted with respect towards the myriad moods and pacing of the opera.

The demanding central role of Jess must be well-cast and, as played by Emily D’Angelo, every moment of her time onstage is nuanced and palpably alive with the truth of humanity. Ms. D’Angelo is a Mezzo-soprano with breathtaking vocal control and tone. Ms. D’Angelo is onstage in practically every scene ---the stamina and rigor demanded is amply supplied. While Ms. D’Angelo always plays within the ensemble, she concurrently manages to shine by virtue of her sheer vocal talent and stage presence. Ms. D’Angelo displayed passion, honesty, and a quirky iconoclastic quality that befits the character. Most of all, she brought a quality of intelligence to her singing and acting.

Supporting roles are all tightly played as an ensemble. Tenor Joseph Dennis as the husband, Eric, shone effectively with a natural ease of manner and a subtle approach in his acting choices.  His captivating tenor voice was particularly resonant as he sang of his wife “slipping away” from him.

Morris Robinson was very aptly cast as the Commander with his commanding and authoritatively effective bass vocal range. Robinson’s stage presence was magisterial in effect.

Tenor Frederick Ballentine as the Trainer projected a tensile, tightly-coiled dramatic quality. Baritone Kyle Miller as the Sensor projected the appropriate “sarcastic” quality of a younger egoist who gives in to the temptation to belittle his older colleague. Willa Cook as the daughter “Sam” was very effective in her almost archetypal role.

Soprano Teresa Perrotta thrilled with her stunningly beautiful singing as the “other Jess”.

As referred to earlier, the Scenic Design by Mimi Lien and the projection design by Kaitlyn Pietras and Jason H. Thompson is astounding. Two levels of stage use are employed---the upper level often shows the world of flight and the military presence while the lower level of the stage portrays the domestic world that the central character must balance with her remote pilot skills.

Total immersion was reinforced continually ---both visually and sonically --- with the compelling LED panels utilized. The themes of the opera were vividly apparent throughout the opera –especially the disorientation of the central character, Jess, as she becomes paranoid and even hallucinatory from the disorientation of her work. 

Lighting Design by Kevin Adams was highly effective and innovative as this opera demanded.

Costume design by Tom Broecker was appropriately drab when needed as well as colorful as employed in larger ensemble numbers (such as a very effectively presented scene at a mall). Grey colors brought out the dehumanization and disorientation of the individual character’s psyche. Grey and muted brown shades and colors also brought out the frightening aspect of drone technology on a wider scale as shown in the frozen grouping of the soldiers (as remote technology became increased).

The larger implications of the breakdown of regular perception and reality with the utilization of remote technology was also stressed as the opera conveyed the sense of alienation and delusions of grandeur that could arise on an individual level as well as on  a macro level. Staring at a screen for hours and being removed from other people is obviously not healthy.

Paradigms of conventional opera are decidedly shattered in this ambitious work even beyond the innovation seen in such modern operas as Dead Man Walking or Champion. The audience’s response to such an immersive and sensory project will be a matter of taste and aesthetics but there is no denying that this world premiere (commissioned by the Metropolitan Opera) will be highly influential and talked about for decades to come.

Grounded is “ground-breaking”!

Running Time: Two Hours and 25 minutes ---with one 25 minute intermission

Grounded runs through November 13, 2023, at the Kennedy Center located at 2700 F Street NW, Washington, DC 20566.

Photo Credit: Morris Robinson (center. top), Emily D' Angelo (bottom left), Willa Cook (bottom, center), and Joseph Dennis in the World Premiere Production of Grounded.

Photo by Scott Suchman.

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