Marnie

Marnie

The Met Live in HD

Brooklyn Academy of Music

November 10, 2018

Photo courtesy of Met Live in HD
& the Metropolitan Opera

The Metropolitan Opera production of Nico Muhly’s Marnie was part of the Met Live in HD series at Brooklyn Academy of Music.  I have been attending these broadcasts a few times each season over the past few years.  I don’t post on this blog about them because, although I am learning about opera and beginning to follow the different singers, I don’t have enough expertise to comment on it as an art form.  However, under to the direction of Michael Mayer and with choreography by Lynne Page, this production contains sharp theatrical elements that dramatize the psychological layers of the main character to tell an intensely complex story that I very much want to share.

Based on the novel by Winston Graham, which is the same source material as the 1964 Alfred Hitchcock move starring Tippi Hedren and Sean Connery, the main character has a dark, hidden secret that causes her to take on different personas and run from the truth.  The role of Marnie is performed by Isabel Leonard.  She captures the mystery of the role and uses it to propel the action forward.  The character’s inner world is dark and haunted.  There are four women on stage at various times representing different parts of her personality, as well as an ensemble of male dancers representing the dark forces pulling her in different directions.  The magnificent collaboration between Nico Muhly, Michael Mayer, and Lynne Page is evident in these moments.  They brilliantly illustrate the inner world of the character.  Alfred Hitchcock believed that suspense is created when the audience is aware of the ticking bomb that can explode at any time.  These moments create that tension and engage the audience in caring for the main character.  They are powerful, stylistic, genuine, and clear. 

Christopher Maltman, Isabel Leonard, & the dark figures
of Marnie's inner world
Photo courtesy of The Metropolitan Opera

The role of Terry Rutland (Sean Connery’s role from the Hitchcock movie) is played by Christopher Maltman.  He and Ms. Leonard are phenomenal together.  Their chance meeting during the opening scene is tender and sincere.  The tension between their characters builds throughout the two acts of the opera.  As the intrigue builds, they become tightly bonded through fear and lies, which all falls away as they face the truth in the end.

Michael Mayer’s versatility as a director is truly amazing.  Among other outstanding projects, he has directed the edgy Hedwig and the Angry Inch, the over the top Head Over Heels, and this dark, psychological dramatic opera.  He is highly skilled at finding and balancing the proper ingredients to tell the story in the best, most effective way possible.

Isabel Leonard as Marnie
surrounded by the images that haunt her inner world
Photo courtesy of The Metropolitan Opera

I highly recommend attending the Met Live in HD broadcasts at Brooklyn Academy of Music.  There is always a speaker an hour before the broadcast who shares information about the art form, composer, and background on the production that frames the experience so you can enjoy it and learn how to watch and listen.  The benefits of the Met Live in HD broadcasts are the close-ups of the singers and intimate scenes, the subtitles, and the backstage interviews during the intermissions.  Whether you see one of the classic well-known titles or a new production like this one, Met Live in HD is a great introduction to the world of opera at a very reasonable ticket price.  It is an amazing world to disappear into on a Saturday afternoon. 

Domenick Danza

The Met Live in HD at BAM

Tchaikovsky’s Iolanta and Bartok’s Bluebeard’s Castle

Saturday, February 14, 2015

I broke my regular Saturday routine, which consists of prepping my class lessons for the week, then going to the theatre in the evening.  My friend Julia recommended I put off my school work for one day, since it President’s Day Weekend.  She wanted to go to IKEA, but I suggested we go to see the Met Live in HD at BAM.  It was a double feature, Tchaikovsky’s Iolanta and Bartok’s Bluebeard’s Castle.

Photo courtesy of Met Live in HD

I am not a big opera fan, but watching the production in HD on the big screen has its advantages.  The interviews with the stage director (Mariusz Trelinski), the conductor (Valery Gregiev), and the stars (Anna Netrebko, Piotr Beczala, Nadja Michael, and Mikhail Petrenko) during intermission (on screen, or course) gave a deeper insight into the juxtaposition of the two one-act operas.  The production was inspired by the classic noir films of the 1940s.  Both stories are fairy tales.  Iolanta explores the coming into the light of a young woman as she finds her true love.  Bluebeard’s Castle delves into the dark side of love as Judith, the main character, becomes victimized by her circumstances.  The performances were moving, engaging, and intense.  The through line of images and color, props and lighting from the first opera to the second illustrated the extension of theme that Mariusz Trelinski identified in his interview.  These images along with the interview details allowed me to follow the character and theme development from the Iolanta’s fairy tale happy ending to the darker metaphors in Bluebeard’s Castle.  

The always enthralling communal experience of any theatrical endeavor is why I attend every weekend.  Upon entering, Julia mentioned how we were among the youngest members of the audience.  That was an interesting thing for her to notice, especially since there is a 30 year difference between her age and mine.  I did wonder why the showing was not in one of the cinemas on the first floor of the BAM Rose.  It would have made it a lot easier for a majority of the audience, since there were no elevators or easy access to the theatre.  After we found seats, Julia pointed out the turquoise knit sweater sticking out of the coat sleeve or the elderly gentleman seated to her left.

“It makes me think there’s a whole other personality under his conservative exterior," Julia said.

We laughed as I told her I was in an elbow battle with the man seated to my right, he claimed the arm rest before we arrived and proceeded to inch his elbow into my side all the way through Iolanta. 

Julia had a great conversation with the turquoise sweater man on her left during the intermission.  He was telling her that he and his wife used to go to the Met often and sit in the dress circle.  They could not see the faces of the singers, but were happy to hear and experience the music and voices.  He continued to tell her how much he prefers the Met in HD presentations.  He said it is a more personal experience, since he can see the singers’ expressions, the acting nuances, and production detail up close.  I definitely agree with him.  Between the close-ups and the English subtitles, the Met in HD is a truly engaging experience. 

Clearly, Julia lucked out with the communal experience.  I, on the other hand, continued to sit with my elbows glued to my sides as the man to my left spread out across the arm rest during Bluebeard’s Castle.  Some people just need to get out more.

“So,” I said to Julia as we walked out of BAM into the lightly falling snow, “this is what people do on a Saturday afternoon.”

“Yes,” she replied, “and it’s only 4:20.”

Be sure to take in on of the upcoming Met Live in HD presentations at BAM on one of the following Saturdays:  March 14 and April 25.  When I got to the box office about an hour and a half before show time, I bought the last two tickets that were available, so I recommend getting your tickets ahead of time. 

Domenick Danza