Opus
Plays that deal with classical music are extremely rare. And successful ones, even less so. The last one that made any impact was the brilliant farce, “Bach At Leipzig,” seen locally in 2009 at the Odyssey Theatre in West Los Angeles.
Fans of classical music will, therefore, rejoice at the Los Angeles debut drama, OPUS (at the always professional Fountain Theatre), which takes on the tensions inherent in all long-term chamber music groups. The ensemble in question, here, is the fictional Lazara String Quartet, named after a fictional 17th Century violin maker. And, aside from the fact that the five actors are only approximating the music heard (coached by Los Angeles Philharmonic’s violinist, Roy Tanabe), the music consists of bits of Beethoven's Op. 130, Bartok's 2nd String Quartet, Bach's Concerto in D Minor for Two Violins, Pachelbel's Canon in D Major, Bach's G Major Suite for Cello transcribed for viola, Beethoven's Op. 131 – the main piece used throughout --, as well as the Beach Boys' God Only Knows, Strauss' Don Juan, Hail to the Chief (!), and Beethoven's Op. 59, expertly mimed while the Vertigo String Quartet plays it. Kudos to sound designer Peter Bayne and technical director Scott Tuomey for making it as realistic-sounding as it is.
Playwright Michael Hollinger’s background includes years as a violist in real chamber music groups, so the rivalries, personal idiosyncrasies, breakdowns, and venalities are, presumably, based on personal experiences. And they do add verisimilitude to the situations, making this a hellava theatre experience.
The Lazara Quartet is in trouble: one of its more brilliant players – Dorian (Daniel Blinkoff) on the viola – is having a series of emotional breakdowns, culminating in the other three members’ decision to fire him. They audition and hire a young Asian-American female (Jia Doughman) to replace him, leaving the fate of the two priceless Lazara instruments, a violin and a viola, unclear. And what of one of the members’ health: is there a spreading of Carl’s (Gregory G. Giles) cancer? Will the outing of Dorian and his former lover, Elliot (Christian Lebano), change the dynamic of the foursome? How will pragmatic Alan (Cooper Thornton) keep them together? Stay tuned.
The action often isolates the actors in spotlights, while playing, to further the character development. So, the performers are “acting” while bowing their stringed instruments. It’s all quite exciting to watch and the actors are performing high in their game.
Drama and Soap Opera are fundamentally the same in that they deal with human interactions. But where they fundamentally differ is in the nuance of the given-situation and in the writing. This is Drama, funny at times, but always wrenching in the exposure of the fault-lines that ultimately destroy the group. Taken from life, undoubtedly, but well-dramatized by Hollinger.
Director Simon Levy has worked his signature magic with the entire production and the five actors are to be congratulated on such intense individual and ensemble work.
Frederica Nascimento’s set design and Ken Booth’s lighting design complement each other, as do the costumes of A. Jeffrey Schoenberg. This is one high-toned evening that should be viewed by lovers of theatre and of classical chamber music.
OPUS plays Thurs – Sun through July 25th, 2010. The Fountain Theatre is at 5060 Fountain Avenue (just east of Normandie). Tickets: 323.663.1525 or at www.fountaintheatre.com.