send in the clowns
by Douglas Messerli
Philip Glass in association with
Shalom Goldman, Robert Israel, Richard Ridell, and Jerome Robbins (libretto),
Philip Glass (music) Akhnaten: An Opera in Three Acts / Los Angeles, LAOpera, at the
Dorothy Chandler Pavilion / the performance Howard Fox and I saw was a matinee
on Sunday, November 13, 2016
For me, it’s admittedly hard to know
quite what I feel about Philip Glass’s operas, particularly the three signature
works, Einstein on the Beach (1976), Satyagrapha (1980), and Akhnaten (1984), all three of which,
since visiting the last opera yesterday at the LAOpera company’s production, I
have now seen in excellent productions.
Despite the Dorothy Chandler Pavilion’s continued acoustical problems,
the LAOpera orchestra, this time under the baton of the young wunderkind
conductor/composer Matthew Aucoin, came through well, except in a very few
instances where, from my balcony position, we heard more tuba than other
instrumentation. The audience, far more diverse than usual and, seemingly,
quite sophisticated and eager to enjoy this production, clearly took immediate
pleasure in it.
I feel strange to appear to be expressing dissatisfaction with that
fact, since I have long expressed my love of just such a narrative technique in
the works of Djuna Barnes and in the filmmaking of Sergei Paradjanov, Rainer
Werner Fassbinder, and others. Perhaps it’s just not as effective on stage,
particularly when accounting a rather exciting tale such as the Egyptian
pharaoh Akhnaten’s fascinatingly short life. In fiction you can combine, as
does Barnes, the “stops” in the fiction with a strong narrative overlay, using
the temporary tableaux as evidence for the effects of the story. In film,
directors such as Paradjanov link their tableaux
vivants into a series of narrative events. But in theater such as this, in
which there is no true narrative structure, the time-stopped scenes become mere
spectacle.
While Einstein featured the
abstract, the mathematical and scientific theories of the thinker, and Satyagrapha dealt with the sometimes
equally abstract world of politics, Akhnaten’s is a world of religion, and a
radical new religion to boot.*
I can even understand why Akhnaten’s
great hymn to the sun, a lovely, quiet piece which Costanzo sings in the very
front of the stage—again, while appearing naked, with a gossamer robe to which
are appliquéd breasts and, now, a vagina where his real penis once was
located—does not require nor even want much movement.
To somewhat entertain us, director
Phelim McDermott sends in the clowns—in this case a team of British jugglers
who throw balls and other objects, mostly circular—paralleling, of course, the
father and mother sun from which Akhnaten argues he has emanated. Yet even
their actions are often slowed down as they are forced to slowly crawl across
the stage floor and move gradually in and out of the singers. And when they do
suddenly spring into action, quite adeptly tossing their balls and clubs
through the air, they appear as more of a distraction than an integral element
of Glass’s work.
Strangely, while Glass’s score hardly
even lets up in its driving momentum, the fact that he generally prefers to
skip stage action or slow it down to such a gradual motion that it appears they
are moving in a kind of dream space, he also enervates his characters to such a
degree that they appear, themselves, to be unreadable hieroglyphs, and become
difficult to comprehend in real life.
I can only commend LAOpera, however,
for staging this stunningly scored work. Perhaps, in the future, we can get a
less mannered presentation of it.
*I should add that, although the
opera seems to give tribute to Akhnaten for his attempt to change his country
from polytheism to monotheism, and Freud, in his important study From Moses to Monotheism attempts to
connect those changes with Akhnaten’s rule with Moses’ demand that the Hebrews
give up their other gods, I am, personally speaking, not so sure I mightn’t
prefer the early Egyptian and later Greek and Roman polytheism, which I recount
in several of the essays of My Year. These people, at least, lived with
a far larger ability to assimilate different religious views. As we know,
monotheism most always tended to want to destroy all other religious
viewpoints, a history of religious monotheism which remains with us even today,
and helped to give rise to groups such as ISIS and even the American Klu Klux
Klan.
Los Angeles, November 14, 2016
Reprinted from USTheater, Opera, and Performance (November 2016).
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