The Fly
The idea of creating a new opera out of the cult horror film, THE FLY, is less bizarre than it might initially sound. After all, the idea of a brilliant, driven and slightly anti-social man with a “God” complex is as true of Faust as it is of THE FLY’s Seth Brundle. And, in the Nineteenth Century, when Opera provided the kind of popular entertainment now centered in film and television, operas delighted in shocking their audiences with mad monks, torture and gruesome deaths.
Los Angeles Opera co-commissioned THE FLY (Theatre du Chatelet premiered it recently) and is presenting the American premiere. The artistic team included impressive names—Director David Cronenberg performed the same function for the 1980’s film re-make; Howard Shore wrote an effective score for the film and David Henry Hwang (the only one with previous operatic experience) has written plays (M BUTTERFLY) as well as opera libretti and books for musicals.
With this pedigree, expectation was high. Would this be a high-toned examination of Man’s efforts to conquer Nature, or a juicy B-movie throwback? The answer is neither. Brundle’s hubris and daring remain too muted to achieve the first scenario while the relentlessly serious tone and lack of camp elements sabotage any chance of the latter. The resulting opera is disappointingly flat and earthbound.
Shore’s score must shoulder the blame for not finding a way to allow THE FLY to sing. The text is admirably clear but the lack of color and texture lend a dreary sameness to every scene. Opportunities for drama and melodic invention abound in this tall tale, but all of them seem to be missed.
The plot uses incidents from the original short story, the 50’s film with Vincent Price and the more lurid Cronenberg version, along with some new twists. Still, the core remains the same. Brilliant scientist Seth Brundle has been experimenting with teleportation. Seeing positive results, he decides to use himself as an experimental subject, not realizing that a fly has entered the chamber with him. During the act of teleportation, the fly is mixed with Brundle at the molecular level and he finds himself capable of superhuman strength, agility and sexual appetite. This quickly deteriorates as his hair and teeth fall out and his skin peels away to reveal a tragic monster.
No blame can lie with the show’s two leads. In his portrayal of the tragic scientist, Daniel Okulitch is bold and daring in ways the opera never manages. His is an intensely physical performance which never compromises the singing. His voice is fresh, focused and communicates directly. I look forward to seeing him in other roles. Ruxandra Donose is a solid match for him as Veronica, the woman the woman who will bear his child and bring forth “the new flesh.” There is an expressively plaintive tone to her voice that illuminates the tragedy more fully than the music can. Both singers have excellent diction.
Gary Lehman does what he can with the underwritten role of Veronica’s boss Stathis Borans while Jay Hunter Morris makes the most of Marky’s scene. At the performance I attended substitute Louise Callinan and her dark-hued, authoritative mezzo made an indelible impression in several roles.
Stephan L. Dupuis has created appropriately revolting creature make-up for Brundle’s transformation, while Dante Ferreti’s set wittily sends up the sci-fi films of the 50’s. The Act I curtain falls on the enduring image of the production. A nude Seth Brundle steps triumphantly from his teleportation experiment--brazen and beautiful—he is the embodiment of the “new flesh” that the chorus proclaims. And a reminder of what the opera could have been with a bit more of Brundle’s audacious presumption.
Dorothy Chandler Pavilion 135 N. Grand Avenue September 7 – 27, 2008
213 972-8001 or www.laopera.com