By JONATHAN CHARLES FOX
“Susannah” is an opera in two acts by the American composer Carlisle Floyd, who wrote the libretto and music while a member of the piano faculty at Florida State University.
Floyd adapted the story from the Apocryphal tale of “Susannah and the Elders,” though the latter story has a more positive ending.
The opera’s story focuses on 18-year-old Susannah Polk, an innocent girl who is targeted as a sinner in the small mountain town of New Hope Valley, in the southern state of Tennessee.
The opera was awarded the New York Music Critics Circle Award for Best New Opera in 1956 and was chosen to represent American music and culture at the World’s Fair in Brussels in 1958. And now, “Susannah” has made its way to The Delaware Valley Opera Center in beautiful Lake Huntington, NY.
As for the opera’s inspiration, “Susanna and the Elders” is a narrative included in the Book of Daniel by the Catholic and Orthodox churches. It is one of the additions to Daniel, placed in the Apocrypha by Protestants; Lutherans, Anglicans and Methodists regard it as non-canonical (not sanctioned) but “useful for purposes of edification” according to Wikipedia.
Spoiler Alert: A brief synopsis of the original story provided by Wikipedia informs that “lecherous voyeurs falsely accused a fair Hebrew wife named Susanna. As she bathes privately in her locked and walled garden, a few elders spy on her bathing. The men realize that they lust for Susanna and when she makes her way back to the house, they accost her, demanding she have ‘relations’ with them. When she refuses, they have her arrested, claiming that the reason she sent her maids away was to be alone as she was having ‘relations’ with a young man under a tree.”
The reason for my attaching the synopsis is simple. Many people immediately shut down upon hearing the word “opera,” and the fine folks at the DVO would love to see that change. Gone are the days of a fat lady named Brunnhilde sporting a Viking helmet and inspiring old men to nap. Gone are the days of lovely ladies in sparkling gowns arriving in limos with men wearing tuxes and bow ties.
Gone, but not forgotten, as audiences in the Upper Delaware River region are invited to adopt a come-as-you-are dress code, sip an adult beverage at intermission and hear an American opera sung in English for all to understand.
Not only did I see “Susannah” last weekend, but I was blown away. The score, written by Floyd, is a wow, and as performed by Jessica Sandidge (Susannah), Jonathan Stinson (Blitch), Daniel Kamalic (Sam) and Ramon Tenefrancia (Little Bat) a double-wow. The singers are more than simply “in fine form,” but are incredibly skilled, wildly talented and just plain impressive, helping to make opera more accessible, simply by being amazing.
Supporting players Andrew Wannigman, Robert Flora, Marcus Huber and Christopher Fistonich are also impressive, and a layered, thoughtful standout performance from Suzanne Dvorken (Mrs. McLean) helps drive the story home.
Rounding out the cast are too many players to name here, but each adds nice touches and flair to a stylish production. It boasts a very cool, simple-yet-effective set design and construction courtesy of Barclay Lottimer, Keith Eisenstark, Steve Marisky and Dan Brinkerhoff. The costumes add to the overall production by effectively illustrating time and place.
Conductor Martin Yazdzik admirably helms an orchestra (with a hefty assist from amazing pianist Christopher Zander) peppered with talented musicians who attack the riveting score with verve. It stirs the audience as intended—with drama, pathos and romance—emotions that only an opera worth its salt can do.
There are several reasons that the DVO’s production of “Susannah” works so well, but at the top of the list is director Carol Castel, whose dream of reinventing the DVO has sprung to life; it’s newly housed in the former Nutshell Hall in Lake Huntington. Castel’s vision (“something for everyone”) is clear and the vibe at the Opera Center is (IMHO) cool. But it’s her skill as a director that bubbles to the surface, reinvigorating the franchise, inspiring her performers to do their very best and bringing the story of Susannah, her sympathizers, accusers, and a town that rages against her based on lies, corruption and religiosity (what? It’s a word!) to life.
Ah, the story, the story! “Beauty and the Beast” (a tale as old as time) has got nothin’ on “Susanna and the Elders.” As the cautionary operatic tale of Susannah musically unfolded, I found myself gasping, sighing, holding my breath and applauding, tinged with a smattering of hissing and booing—as opera tradition dictates.
I got mad at the actors (I mean “characters”) and scribbled “She gets a bad rap” in my notebook while repeatedly reminding Lily Skuthan, the company’s makeup artist, (who was watching the show with me) that it was “just a play.” She too became increasingly agitated by the treatment Susannah received at the hands of the evil, despicable, two-faced Olin Blitch and his equally reprehensible henchmen.
“It isn’t real,” I said to Lily. “It’s gonna be OK, honest”—and it was (sorta)—but not before the poor girl in question had to endure the trials and tribulations of religious zealots. They based their behavior on malicious gossip, taking the word of those who can’t (and shouldn’t) be trusted as gospel.
In other words, a timely little fable that could have been written yesterday, one that offers a perspective that ought to be examined, wrapped up in a highly theatrical (it’s an opera, folks!) production that should be experienced.
The good news? There’s still time. Performances continue through September 1. For tickets and information, go to www.myrivertickets.com.
Ask the Google: What does “apocryphal” mean anyhow?
A: It means “a story or statement of doubtful authenticity, although widely circulated as being true.”
This article originally appeared on The River Reporter and is published here with permission.
