'Picnic' premiere: solid performers, local connections
GREENSBORO — It is not often that one gets to witness the world premiere of an opera, particularly here and especially not with all of the local connections that Thursday night’s performance of “Picnic” at Aycock Auditorium brought together.
The libretto (or text) — adapted from William Inge’s Pulitzer Prize-winning play in 1953 — was written by David Holley, who directs UNCG Opera Theatre.
The orchestra and cast employed UNCG faculty, alumni and current students.
And the hot jazz combo — yes, jazz in an opera — was also from UNCG: Edward Bach (trumpet), John Salmon (piano), Steve Haines (bass) and Thomas Taylor (drums). Fronting the band in good style was mezzo-soprano Cheryse McLeod Lewis.
The first sounds of the opera, in fact, featured Bach and Lewis trading licks as the two made their way down the aisles to the stage.
Like the play, the opera opens on Labor Day in the early 1950s, as two neighboring all-female households get ready for a town picnic.
Madge is preparing to marry well-to-do Alan when drifter friend Hal shows up.
A spark ignites and Madge leaves town to follow Hal and her heart.
Grammy Award-winning composer Libby Larsen’s score, which effortlessly melded the jazz quartet’s music into the orchestra pit, also helped define each character with a distinctive personality.
One high point in the opera was Madge’s aria, sung by Linda Lister, about the frustration at being seen as only a pretty girl.
Daniel Stein robustly sang the role of Alan Seymour.
As a magnet for trouble, Hal Carter (Charles
Schneider) sang his role with a lot of bravado, and his music was often menacing in nature.
Madge’s little sister Millie was wonderfully sung by Tara Sperry, who captured the essence of a teen perfectly.
Candice Burrows solidly performed the role of Helen Potts, who first hires Hal to do some yard work and sets the action in motion.
Spinster Rosemary (Ann Marie Wilcox) and her interactions with old maids Irma (Reneé Sokol Huff) and Christine (Lindsay McConville) provided comic relief on several occasions.
Deborah Bell’s costumes and Randal J. McMullen’s set were both functional and evocative of the Midwest in the 1950s.
Conductor Ted Taylor expertly led the UNCG orchestra, which seldom covered the singers.
Tim Lindeman is a freelance contributor.
