Center for the Performing Arts
Illinois State University
September 1 & 2, 2005

Composer: Nancy Van de Vate     Conductor: Karyl Carlson
Producer: Michelle Vought     Director: Deb Alley
 

Captain Bartlett - Timothy Schmidt Nat Bartlett - Christopher Hollingsworth Sue Bartlett - Michelle Vought Dr. Higgins - Clinton Desmond Silas Horne - Jay Worthington

Cates - Stephen Brackett Jimmy Kanaka - Brian Wohl Attendant - George Zerante Attendant - Robert Colletti

 

IAWM Journal, 2006

Nancy Van de Vate: Where the Cross is Made

By CHERILEE WADSWORTH WALKER

Illinois Stare University was proud to present the world premiere of Where the Cross is Made, a new chamber opera by the noted composer, Nancy Van de Vate, President and Artistic Director of Vienna Modern Masters (recording company) and award-winning composer of more than 130 works in a variety of genres. The opera's libretto, based upon a play of the same name by Eugene O'Neill, is a ghost story about a retired ship captain, Captain Bartlett, and his search for buried treasure. His son Nat attempts to have him committed to a mental institution, while his daughter Sue is opposed. The drama centers on the family's ability to distinguish between reality and insanity, and it teeters precariously atop waves of personal, emotional and financial disaster.

The stage, without a curtain, was sparsely decorated, luring one immediately into the ominous netherworld of the story. The walls suggested a sailing ship, with coarse wooden paneling and rounded portholes. A grate suspended above the center of the stage cast an eerie shadow upon the floor, hinting at a brig or other area of confinement. Packing crates sufficed for furniture and a kerosene lamp flickered sullenly.

Undulating strings signaled the beginning of the work and established a mournful tone that permeated the performance. Although instability fueled by bitterness and hatred remained a constant theme among the characters, the orchestra never failed to reveal their humanity through a solo instrument rising from the din, demonstrating each character's vulnerability Exotic percussion instruments emphasized key points, such as a climactic dissonant chord receding in the gentle sway of wind chimes, or a crash of the tam tam cuing a significant change of thought.

Some Wagnerian-type devices were incorporated such as a descending tritone to reference the father's insanity or the son's treachery; lyric, pentatonic sounds during reminiscences; and opposing angular chromaticism employed when characters reveal their anguish. Similarly, recurring patterns and unspoken meanings were apparent in the lighting and costuming. The doctor, dressed in black, symbolized death, whereas other characters wore more neutral tones. Although Captain Bartlett appeared in blues and grays (a pattern that would later be duplicated among the supernatural visitors), his brown cap tied him loosely to the world of his children, who also wore primarily browns. Nat's red scarf, however, identified him as someone interested in blood money, while Sue's white apron set her apart as the only person whose motives were pure.

There were few set pieces; rather, the opera unfolded in a continuous kaleidoscope of sound. The voices were remarkably easy to understand, although lines of text were seldom repeated and neither supertitles nor librettos were provided. The performeers sang with minimal ornamentation and used a natural, flowing approach to dialogue. Tenor Christopher Hollingsworth, as the son Nat, displayed a particular ability to slide easily between spoken and sung timbres, and soprano Michele Vought as Sue showed the agonized sweetness of a woman who loves both her father and brother, yet realizeds they are hell-bent upon destroying each other.

The roles were enacted without the artifice and conventions of grand opera; singers looked directly at each other when discoursing and moved in time with their gestures, rather than drawing out an action to fit musical phrasing. An exception to the naturalistic tendencies of the production was made for the three silent ghosts, clad in rags of gray and strewn with seaweed. Their arrival was announced by fog creeping under the door and flickering lights that underscored the clusters in the strings. Amazingly, the ghosts slid across the floor to stand in distorted poses, seemingly unaware of the weight of their treasure chest. These silent apparitions – played by Jay Worthington, Stephen Backett, and Brian Wohl – literally stole the show, every bit as horrific in their understatement as the graphic blood spurts of a Hollywood slash film.

This presentation offered an exquisite blend of modern theatrical realism, simple yet artistic singing, and strong character development, with an emphasis upon believability. Special effects were used sparingly, yet produced maximum impact, with realistic acting and timing bringing these into bold relief. Overhearing the comments of a music appreciation class as they left the theater, I could not help but wonder if the major repertoire companies would retire some of the tired war-horses and gamble upon newer works that contemporary audiences find more relevant, perhaps that would find a new market for this struggling art form. Additional performances of the opera are scheduled, and the work was selected by the National Opera Association as winner of its biennial competition for new chamber operas.

Dr. Cherilee Wadsworth Walker serves as Teaching Chair of the Performing Arts Department of Illinois Central College in Peoria.