Diva on Detour
In a 2008 interview, when she was in San Diego to sing the title role in Madama Butterfly, soprano Patricia Racette said of adding new repertoire, “I like a piece to feel like second nature to me, rather than just servicing it.”
The diva did that – going far beyond servicing the songs – Saturday evening (November 14) at the Balboa Theatre, when she presented an entire evening of second nature songs in her outrageously enjoyable program titled Diva on Detour. There was not an operatic aria in the room. No one complained. It was like returning to her roots. Racette was a cabaret singer in her youth and actually enrolled in college to study jazz prior to turning to grand opera. She could could certainly be a cabaret singer again if she chose.
During the summer Racette announced that she is retiring Cio-Cio San from her repertoire. (She sang the role very early, when still a student in San Francisco Opera's Merola Program and then not again until 2002 as a professional.)
This season she debuts three roles: Katerina in Lady Macbeth of Mtsensk (September-October 2015) at English National Opera, Ellie in La Voix Humaine (February 2016) at Chicago Opera Theater, and Minnie in La Fanciulla del West (July-August 2016) at Santa Fe Opera.
|The Diva on Detour|
Photo courtesy San Diego Opera
Diva on Detour is Racette at her perfectionist best. She intersperses songs by Gershwin, Hart, Mercer, Porter, Sondheim (and more!) with personal anecdotes (thank God a microphone is used throughout), and devotes some time to songs made famous by Edith Piaf, performed in excellent French. During “La Vie en Rose” she created severe electronic spine tineless by dropping the microphone to her waist and singing the remainder of the song in her own beautiful unamplified voice, which seemed to come from ten thousand miles away. It was a moment not soon to be forgotten. Amen and amen.
Racette sang Mercer’s “Come Rain or Come Shine” to an accompaniment comprising Bach’s B Minor Prelude (a la “Ave Maria”) devised by her extraordinary collaborator, Craig Terry, who not only enjoyed the heck out of the entire program but provided immaculate and sensitive support. Ah, what a blessing it is for a singer to be accompanied by one who so obviously adores her.
One of my personal favorites was “Guess Who I Saw Today,” in which a woman engaged in a perfunctory long-term relationship spies her significant other in the darkened corner of a restaurant, kissing a new lover. Racette admitted she loves singing about heartbreak, and of course she does it very well.
Her ability to extend a final note, adding crescendo and dimenuendo, far exceeds that of most cabaret singers. The tone, the enunciation and the interpretaton are perfect, and the effect, simply splendid. If in a few instances a song feels over studied, so be it. Forgiveable. My companion and I were delighted over the sumptuous evening performed without interval in around 90 minutes.
The (curious case of the) Watson Intelligence
at Moxie Theatre
Madeleine George wrote both Precious Little – currently seen through Saturday at Diversionary’s new Black Box – and The (cuious case of the ) Watson Intelligence, which just opened this past weekend at Moxie and continues through December 6. Seeing both in so short a time is edifying to say the least and is a lesson in the scope of just one woman’s inquiry.
In Watson, directed by Moxie Executive Artistic Director Delicia Turner Sonnenberg, three actors leapfrog through five eras in an exploration of human need, interdependence, attraction, arousal, love and lust, and how these affect creativity and success.
|Eddie Yaroch as Merrick|
Justin Lang as Josh Watson of the
Photo by Daren Scott
The cast comprises Jo Anne Glover as Eliza and Eddie Yaroch as Merrick, her estranged husband, who has never understood nor recovered from her leaving him seven years before. She is an inventor, and he, a cold, unfeeling industrialist. The plot, in all eras, involves Eliza and Merrick and a mutable character named Watson (played by Justin Lang), who is either a human being or a created sentient in each era. Identifying which Watson one is watching is both the fun and the key that unlocks George’s meaningful work, so full of language subtleties.
One cannot conceive better casting and direction. Jerry Sonnenberg’s scenic design makes flowing from one era to another as swiftly understood as the set of of Lang’s face or the cast of his expressive eyes. Human or sentient creation, he is scrumptious.
Watson’s various guises are as follows: sidekick to Sherlock Holmes; the engineer/assistant who built and tested Bell’s first telephone and received Bell’s first, plaintive and ambitious message; an unstoppable super-computer that became reigning Jeopardy! champion; and an amiable Dweeb Team technician who fixes Merrick’s frozen computer and is hired as gumshoe to tail Eliza, a task that takes him as far as Victorian England.
In addition to Delicia Turner Sonnenberg’s sparkling direction, one of the keen listener’s greatest delights is George’s repeated dialogue, phrases gleaned early in the play that weave themselves throughout, sometimes emanating from other mouths. Among the other delights are Desiree Hatfield Buckley’s era spanning costumes and shoes, Christopher Renda’s lighting, and David Scott’s sound, all of which turn and tick like a well sprung clock.
Glover embodies the super-intelligent yet vulnerable Eliza, who is certain she controls her fate, and then, not. Eddie Yaroch’s Merrick, despite his manipulative, even ruthless determination to “keep” Eliza in no matter what time frame, comes off as vulnerable, too.
By far deeper and more insightful than any description of its tricks, the play is an absolute delight.
See it at 7pm Thursdays, 8pm Fridays and Saturdays and 2pm Sundays through December 6 at Moxie, 6663 El Cajon Boulevard, $30, www.moxietheatre.com or (858) 598-7620.