'The Veil Lifts'---Reasons To See Chicago Fringe Opera's The Great God Pan
OH, man, guys….
I am SUPER pumped for this weekend (and not for the usual reasons…)!!!
Chicago Fringe Opera opens their world premiere of The Great God Pan this weekend at the Chopin Theater after months of building anticipation. I myself will be running--not walking--to the box office to claim my tickets.
Here are just a few reasons why I’m excited about this opera--
EVERYTHING ABOUT IT IS LOCAL AND PROUD
The composer, Ross Crean, is Chicago-based. The singers participating in the world premiere are Chicago-based. The company, Chicago Fringe, is making an effort to utilize all locally-based aspects in the production, from hiring an all-local production team to renting the Chopin Theater, a historic Chicago theater.
You cannot possibly get any more grass-roots than this production. In a time when it feels as if all the artistic resources in this country are being pulled towards New York or LA, it warms the cockles of my heart to see a company boldly and proudly proclaim their dedication to Chicago.
IT’S BASED OFF THE ORIGINAL HORROR STORY...
Stranger Things. The Following. Black Mirror.
Our generation seemingly has an obsession with all things macabre or based on the occult.
The Great God Pan is based off Welsh author Arthur Machen’s 1890 supernatural thriller. At the time, nothing like it had ever been previously published--it was an enigma, a genre all unto its own, the first true supernatural thriller. The original novella tells the story of Mary, a young woman whose mind is surgically altered to allow a closer experience with the divine. Unfortunately, the surgery is a success--but not in the way anyone intended. Through Mary, the Great God Pan gains access to our mortal world, wreaking havoc, sex and death wherever he goes.
If this isn’t an awesome basis for an opera, I don’t know WHAT is!!! The original novella can be read for free here: https://www.gutenberg.org/files/389/389-h/389-h.htm.
...AND IT WILL INTRODUCE NEW AUDIENCES TO OPERA
Based on the recent resounding success Chicago Opera Theater experienced with Elizabeth Cree, opera audiences are no exception to the ‘thrill and chill’ craze. Based on the true story of Elizabeth Cree, a music hall singer who was hanged for poisoning her husband, the operatic version featured a much more sinister story. The production was complete with Gothic costuming, dark lighting and vivid, graphic projections of some rather grisly murders. It enjoyed an almost completely sold-out run, and received glowing praise from the critics despite its gorier aspects.
If an opera about a serial-killer can be an overwhelming success, imagine what an opera featuring a mythical monster/god can accomplish…
IT’S A SMALL COMPANY GETTING SOME SERIOUS ATTENTION
It seems Chicago Fringe just keeps getting bigger and better ideas.
Last year, their hysterical production of William Bolcom’s Lucretzia garnered some well-earned praise from The Chicago Tribune (http://www.chicagotribune.com/entertainment/theater/ct-fringe-opera-lucrezia-review-ent-0508-20170507-column.html). A few years before that, Fringe launched an immersive audience experience with their production of Benjamin Britten’s The Turn of the Screw. The company transformed the famous Berger Park mansion into a haunted house, through which audience members toured while watching the opera’s ghostly story unfold in incredibly-close proximity. Their latest production of Laura Kaminsky’s As One practically tore through Chicago. Chicago Classical Review attended a performance which caused them to pen the phrase “Chicago Fringe Opera has emerged as the most consistently impressive of the city’s storefront opera companies”. That’s incredibly high praise, especially for a production that dealt with such current social and political issues.
The Chicago Tribune has preemptively ranked The Great God Pan among this week’s recommended classical music performances, and I couldn’t agree more (http://www.chicagotribune.com/entertainment/music/vonrhein/ct-ott-classical-corner-0309-story.html). With a history of making exciting, intimate productions that blow away audiences, I’m pumped to see what they will do with this particular one!
MY WILDLY-TALENTED FRIENDS AND COLLEAGUES ARE IN IT
Let’s be honest, performances are just more fun to watch when you know someone in the show. This cast is no exception---just exceptional talent!
Baritone Aaron Wardel has been singing all over this city recently, piping out his rich and lush sounds to everyone’s delight. Soprano Christina Pecce is making her Fringe debut; later on this spring, she’ll be making her Lyric Opera debut as the understudy for Mary Magdalene in their upcoming production of ‘Jesus Christ Superstar’ (I directed this woman, and let me tell you--she is a goddamn delight, both on and off the stage. Keep your eye open for her name, as I’m sure it will be garnering some serious praise on the national level soon). Tobias Wright, who was hilarious as the young, virile lead in Lucrezia, now hones his warm, honeyed tenor tones towards something a bit creepier (his acting chops never cease to amaze me). Soprano Marysa Abbas’ smooth, silky mezzo will be featured alongside Maureen Smith’s crystal-clear, vibrant soprano--both these ladies have serious vocal abilities that they wield with style and grace.
This is entire cast is full of heavy hitters in terms of talent, and I cannot WAIT to see what they have up their sleeves.
THEY UNDERSTAND THE VALUE OF INDUSTRY
Headshots. Recordings. Coachings. Airline Tickets. Hotels. Accompanist fees.
Audition season is seriously expensive.
Chicago Fringe seems to understand this fact all too well.
The company is currently offering one of the most generous industry discounts I have ever seen. In hopes of attracting other professionals, tickets have been knocked down from their usual $40 to a mere $20 to anyone who arrives with a performing resume in hand--whether that be dancers, choreographers, directors or whatever. Fringe will then keep the resumes on file for the next few years. By simply attending their production, you get a foot in the door!
It’s bloody brilliant, as it helps them flesh out audiences with people who are assured to be invested in the work and genuinely interested in the overall production. It quietly acknowledges your presence and unique importance within the Chicago performing world, simultaneously thanking you for supporting Fringe’s current season while encouraging you to return and audition for future opportunities.
It’s a mutually beneficial networking strategy that could only be pulled off by a generous storefront company made up of empathetic individuals---so.eat THAT, Big Opera.
As if this weren’t enough, Fringe is offering performances on a Monday night. A traditionally ‘dark day’ in the performing world, this ensures that professionals who are contracted during the weekends can still find time to see the production. Once again, this is a BRILLIANT thought process and audience-building strategy.
On a lighter note, the last reason I’m squirming to see this is honestly because---
THE PRODUCTION STILLS LOOK BLOODY AMAZING
Look at these photos!!! I mean, how can you NOT want to see this thing?!?!
I already have my tickets purchased for the 16th of this month---and I’m so excited, I can hardly wait!
Come on out and ‘lift the veil’ with me….