Opus
William Congreve’s oft misquoted line from “The Mourning Bride” claims that “Music hath charms to soothe the savage breast...” but in Michael Hollinger’s play about a high-strung quartet, its charms work to provoke a savage unrest. Egos clash, bitterness reigns while Beethoven’s op. 131 proves to be either their undoing or the quartet’s crowning glory.
Simon Levy plucks a fairly cohesive whole from Hollinger’s otherwise string of discordant scenes that smack of supercilious affectation. Given the brilliant talents at the Fountain, one wishes they had better material to work with. It’s hard to fault this production, which mightily tries to overcome the tinny dialogue and obvious plot. For all their efforts, the play hits a hollow note.
The characters are about as predictable as William Tell’s Overture leading up to the play’s explosive finale. Under the guise of a documentary, the members of the Lazara Quartet extol the virtues and pitfalls of the musician’s life under spotlight. The convenience of this device tips the hand somewhat too far and winds up typifying each character’s role within the group.
There’s Carl, sensitively played by Gregory G. Giles, a cancer survivor who only tolerates so much guff and drama during rehearsals. Peacekeeper Alan, who Cooper Thornton from Parks & Recreation gently plays with stoic resignation and finds some tender moments with ingénue Jia Doughman as Grace, the newest replacement caught in the rising tensions of the group. Egomaniacal Elliot is fiercely portrayed by Christian Lebano as his more talented partner and former member of the quartet, Dorian, wonderfully enchanted by Daniel Blinkoff, brings a final showdown of talent versus loyalty that will irrevocably decide the fate of the Lazara success.
The cast ably mimes in time although not always with the according movements to such familiar pieces as Pachelbel’s Canon in D, Bach’s Prelude from Cello Suite One and Largo from Concerto for Two Violins in D minor and the requisite opus 131 by Beethoven. Music advisors and Los Angeles Philharmonic violinists Larry Sonderling and Roy Tanabe—who came out of retirement for this show—provide the necessary music and choreography to complete the show. Peter Bayne’s excellent sound design comes in with precise timing at just the right volume. For classical lovers, this show offers some fine moments of stringed instrumentals and is a go-see.
Levy uses the space well against Frederica Nascimento’s richly wood-paneled set painted with a splash of color blocks ala Kandinsky or Rothko and finds some movement to break up the monotony. Occasionally, the scenes between Elliot and Dorian come across too strident and pushed, but the overall effect is achieved nicely. Ken Booth is a master with lighting, as I’ve said many times before and will continue to sing his praises. When Booth is in the booth, I know that at the very least I will see a beautifully lit production.
I’m a huge fan and supporter of the Fountain Theatre and I wanted to love this show like so many before. Unfortunately, it’s the play and not the performances that sounded too sharp, pitchy and otherwise flat. I’m no Simon Cowell, but for all the hype both here and in NYC, (British accent), “it just didn’t do it for me.”
If a mellow evening of recognizable chamber music wets your whistle then settle in for an enjoyable performance, just try to tune out the dissonant cranked out dialogue. Not even this talented cast could find the right key.
“Opus”
Runs through July 25
Thurs, Fri and Sat at 8pm
Sundays at 2pm
Live chamber music concert on July 11 at 8pm
The Fountain Theatre
5060 Fountain Avenue
(Fountain and Normandie)
LA, 90029
PH: 323-663-1525
www.FountainTheatre.com