Only 3 Performances Left! DO NOT MISS!
By Venus Zarris
Do you remember the first time that you tried something new (like Thai food) and thought to yourself, “There is no way that these flavors are going to work together?” And then it was all you craved for the next two years. This is the kind of bold and brilliant flavors that Chicago Opera Theater fearlessly and miraculously combines in their completely resplendent production of Francesco Cavalli’s Jason (Giasone).
COT fuses blazing crazy conceptual contrasts to create this lavishly lovely and eclectically eccentric prize. They have managed a breathtakingly beautiful operatic triumph as well as a camp riot, never compromising the artistic integrity of the opera or their already exceptional standards of musical excellence. Jason (Giasone) is a first class production and a first rate joy ride.
Written in the 17th century, Jason (Giasone) features a charming and musically enthralling score delivered by a small chamber string orchestra. The familiar story of Jason’s quest for the Golden Fleece is given dramatic twists and turned into a romantic comedy of errors.
COT adds another twist to the tale by setting it in the 1960s, ala James Bond. This creates an absurdly gorgeous visual playground and makes perfect sense for the high camp interpretation that magnificently gleans every morsel of mischievous humor out of Jason (Giasone). The balance between sauciness and sophistication is perfect.
There are so many contrasting highlights that uniquely compliment each other. Cleverly colorful cartoonish visuals are balanced by staggeringly extraordinary vocal performances. Laugh-out-loud scenes of over-the-top comedy seem to dance flawlessly on top of Cavalli’s delicately lush musical composition.
Nothing would work without an extraordinarily gifted cast and this ensemble is vocally amazing and theatrically brilliant. It can be enough of a challenge to make characters and story lines clear while singing unfamiliar music in a foreign language. Add to that, a refreshing conceptualization of the opera that frames the production with contemporary camp and you have a daunting challenge made more impossible. But this team of incredible singers sells every silly scene to hilarious end as well as draws us into the drama of the story.
Enough cannot be said for the astonishing cast. Julius Ahn displays great physical humor as Demo and makes the on-going joke of his character’s stutter funnier with every scene. Evan Boyer is audaciously silly as Oreste, infusing hints of John Cleese that are perfectly priceless. Andrew Funk, as Besso, and Vale Rideout, as Egeo, look and sound wonderful. Grazia Doronzio is pathetically charming as Isifile. She takes a part that could be played as whiny and gives it engaging nuance and subtle humor. Andriana Chuchman, as Alinda, steals several scenes with sensational sexual frivolity. Tyler Nelson commits comic operatic highway robbery by embodying all that is hysterical about drag, as Delfa the maidservant to Medea, while simultaneously delivering some of the production’s most superb singing. Franco Fagioli is outstanding as Jason. He carries the title role with bravado, depth and a mesmerizingly marvelous countertenor voice that is powerful and haunting. Sasha Cooke incarnates as a sensationally sensual and completely commanding Medea. When Cooke’s Medea invokes the sprits of the underworld to do her bidding, there is no question that she will get her way. The talented chorus rounds off the performances perfectly.
In order to pull off his irreverently fabulous vision of Jason, director Justin Way places an extra degree of dramatic difficulty on his ensemble. They rise to occasion theatrically and musically to create a truly rare and remarkable production.
Vocally this cast is flawless and thrilling. Every scene is delivered with world-class skill and artistry. Of all of the exciting musical moments, the duets between Cooke’s Medea and Fagioli’s Jason are the most beguiling. Separately they are captivating but when their voices combine you hear something so breathtakingly rapturous that you fear your heart might burst. These glorious musical moments almost lift you off of your seat.
The orchestra, conducted by Christian Curnyn, is incredible. Production designer Anka Lupes and costume designer Kimm Kovac are inspired.
I can see only two problems with Jason. There are not enough full chorus moments. The few teasers that we get are so exciting that you long to hear the entire company create a wave of vocal grandeur but it never comes. Other than that, there are simply too few performances of this glorious production. Four nights is not enough for the work involved and the euphoric results of everyone’s efforts. These are not complaints about the production but rather a short wish list. The fact that you only have three remaining opportunities left to experience this overwhelmingly entertaining opera makes Jason (Giasone) all the more precious and makes it all the more urgent that you get your tickets today. To miss this would be to miss one of the most unique creations seen on a Chicago stage in years.
COT’s whimsically wonderful and musically marvelous production of Jason (Giasone) raises two questions. How can it be that Cavalli’s lovely opera has never received a professional production in Chicago? And, how did Chicago get so lucky to be the birthplace of such a staggeringly delightful and creatively theatrical operatic invention? These rhetorical questions only solidify the genius of COT’s Jason (Giasone).
Whether you love opera or have never seriously considered taking one in, Chicago Opera Theater’s Jason (Giasone) is a spellbinding production that you do not want to miss!
4 STARS
(“Jason (Giasone)” runs April 24, 28, 30, and May 2 @ Harris Theater, 205 E. Randolph. 312-704-8414)
Only 3 Performances Left! DO NOT MISS!
Jason (Giasone) production photos by Liz Lauren.
