| Susannah ... a lesson on judgement and compassion |
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| Meghann Schmidt as Susannah |
“Beware where you’re steppin’ for the Lord sees it all,” warns Reverend Olin Blitch, a telling line to be sure from an opera about misguided assumption, judgment and betrayal. When the town folk of New Valley, Tennessee, circa 1955, witness one of their new residents, a young woman bathing nude in a nearby stream, they assume her actions are of the devil’s and accuse her of blasphemous sin. This misconstrued judgment, a theme so familiar in classic literature like Nathaniel Hawthorne’s The Scarlet Letter and Arthur Miller’s The Crucible and specifically fitting in that era known as McCarthyism, stems from a culture that uses the Bible as their trump. Well, not too hard to imagine when you’re referring to that “Good Book,” and still oh so relevant today. For devout Christians, when properly understood, the bible’s arguably the most powerful book ever written and the most dangerous if misunderstood—too often the latter.
Coincidently, SJA’s 2007 Lenten theme is titled dangerous liturgies. The plot line described above comes from Carlisle Floyd’s 1955 opera Susannah which is based on the biblical story “Susannah and the Elders” and currently staged at Theater Latté Da under the inspired direction of Artistic Director and SJA parishioner Peter Rothstein. Rarely done in the Midwest, this renowned opera fleshes out in detail the story of Susannah and the aftermath of her “blasphemous actions.”
Set Designer John Clark Donahue ingeniously captures the vast but stifling world of the Tennessee Mountains with a perfectly cramped space of bare tree limbs, branches, thistles, rock and an evocative hill painted backdrop. Every detail, from a rocking chair placed on a modular-moving porch that turns into the indoors of a Baptist Church, to running water down a rock near a carefully placed cross, speaks in loud biblical metaphors about sin and repentance. Rothstein innovatively stages an outstanding 14 member cast who deftly weave in and around the trees of this picturesque but shallow space. He gets honest and dynamically transforming character portrayals from the four principals: Soprano Meghann Schmidt (the title role), lovely crystal-clear voiced, from fetchingly naïve to brutal defiance; Baritone Bryan Boyce ( Preacher Olin Blitch) impressively strong singer, from severely stoic to bewildered vulnerability; Roy Heilman (Sam Polk, Susannah's brother) vocally robust, from fiercely protective to sheepishly coward-like; and James Plante (Little Bat McLean) from sympathetic and swooned to betraying and broken. He also aids the strengths of a tight supporting ensemble that deliver impeccable diction and glorious harmonious sound to the various gospel hymnals and Appalachian style score.
Susannah’s truly a paradox. She’s lonesome for the valley and yearns for affection and what may lie beyond the mountains, but feels trapped and can not leave. She’s fiercely protective of her home and of her integrity. “Aint It a Pretty Night” tenderly captures her wistful sentiments and the breath taking beauty of nature around her as well as the tragic loss of it all when her sense of beauty will soon slip away for good.
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| Susannah and Preacher Olin Blitch(Bryan Boyce) |
On this Sunday February 4th brief 80 minute length opera, a panel discussion followed. Retired 13 year SJA Pastor George Wertin and Peace & Justice Coordinator Julie Madden, Cindy Prosek, a Lutheran Church member of liturgical music practices, composer Schlefke and director Rothstein as well as members from the cast discussed with an expressive audience the staging of the play, the arousing final image, the fact that everyone in the opera has character flaws, the process of reducing the orchestra arrangement, and personal reflections.
Fr. Wertin observed that the story of Susannah in the bible is quite brief with her receiving redemption from Daniel in the end. In the Opera, the story is drawn out and there’s no redemption. “The lack of love and kindness in any place,” Wertin remarked struck for him. “Once you were accused, you were guilty. Good and dedicated people were absolutely destroyed,” he said. Madden saw the notion of “I have to get you saved,” she said, “Who is your God? We see that for work reflected in justice and compassion.”
Rothstein feels that the story is ultimately a morality fable. He elaborated, “What power do you have to make this different.” In discussing his staging, he said, “There are two little girls and Susannah left on stage. What will those girls become? Joyful and hopeful or [like] Susannah?” Lavender Magazine Critic John Townsend suggested, “There’s a deeply ingrained shame of their sexuality. We scapegoat women for their sexuality.”
Rothstein also observed, “The men choose to put the devil in Susannah rather than confront their own being.” One audience member responded, “Susannah does not belong to anyone yet is the most feared. The men project their feelings on Susannah. The women project their fear on Susannah.”
Rothstein said there were few stage directions and that Susannah is a woman filled with contradictions. She’s full of hatred for the preacher and she needs to take power where ever she can get it. He questioned, “What happens to people when they are robbed of their dignity and humanity?”
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ASL & Audio Description: Thursday, February 15, 7:30 pm
Next post show discussion: Sunday, February 25, 2:00 pm featuring SJA Liturgy/Music Director Anna Vagle
Tickets: $15 - $29
For reservations call: 651-209-6689 or www.theaterlatteda.org.