The comedy of tragedy

By PATRICIA M. AAKRE

If you think you know the story of Orpheus and Eurydice, you are in for a surprise. The tragic tale of a husband in search of his dead wife in Hades has been turned on its ear in Offenbach’s opera, as directed by Ron De Fesi. Consider Public Opinion, a character in the opera that never figured in my version of the myth. Just when the story looks like a bawdy soap opera, Public Opinion arrives, carrying copies of the National Enquirer. “Hubby Unfaithful,” screams the headline. Is this the story of Jupiter in one of his many seductions? Juno has reason to be constantly enraged with her philandering king. But is Jupiter so different from Orpheus, who would rather “diddle in the dell” with his nymph? And are they so different from Tom and Nicole? Or Hillary and Bill?

There is much broad humor here, thanks to the English translations of Ron De Fesi, and some game cutting-up by the performers. Jupiter (Steven Pollack) seems to have wandered in from a Marx Brothers movie. Or is it a Mel Brooks musical? But then again, the god king is required to wear a housefly costume in Act III, and buzzes convincingly, as he attempts (and succeeds) to seduce Eurydice. Diana (Mariella Nocetti) mugs shamelessly with her eyes: she rolls them, she crosses them, she keeps a lusty gleam in them for Orpheus, her conquest. And you have to admire the way she keeps taming her runaway headdress, as she gesticulates wildly and sings at the same time. Nocetti and David Christopher (Orpheus) sing beautifully together in Act III.

And it is hard to think of anyone better than Lisa Smith as Public Opinion. She begins the opera by singing from the aisles, wearing a crown that looks borrowed from the Statue of Liberty, and pointing her torch at audience members. Smith has it all: good looks, fine acting ability, grace, wit, wonderful timing and a voice that both commands in her solos and blends perfectly in duets with Orpheus.

Other standouts are David Christopher (Orpheus), with very strong voice and acting ability, Andrea M. Arena (Venus) in a swaggering Mae West style, Chandler Thompson (Cupid), Denise Schneider (Juno), and Eric Barsness (Mars). Argun Tekant (Pluto/Aristaeus) and Heather Connolly (Eurydice) perform buffoonishly as called for. The River Reporter’s own Tom Kane as John Styx does a fine comic turn as Eurydice’s jailer.

What keeps us clapping at the end, in addition to the ensemble, is the playing of violinist Betty Jean Hagen. Since it is Orpheus’ music that convinces the gods to let him have a second chance with his dead wife, it is important for the music to be flawless. Hagen fills that bill, along with her fellow musicians Ron De Fesi and Maria Rivera White. Who would have thought that the music we know as the can-can is part of an opera about Orpheus?

If only the production were 15 minutes shorter, but I don’t suppose you can cut out even one minute of the silliness. Because the composer meant for the operetta to be comical, and flamboyant. And it is.

The production will again take the stage at the Tusten Theater on Saturday, August 18 at 8:00 p.m. and Sunday, August 19 at 3:00 p.m. For more information or tickets call 845/252-7576.