I ventured out of my layer this nice cool evening to see UTSA Lyric Opera’s new production of the old standard, Gilbert & Sullivan’s HMS Pinafore, at the Buena Vista Theatre, dowtown UTSA. One of the most famous of all G & S operettas, the music is a trunk full of clever melodies and very funny lyrics. The production was a great success in most areas, a surprise in others and a complete shock in one.
The shock came at first sight of the excellent set design and construction, by Ricky Holdman and Stephen Montalvo. William McCrary, Director of HMS and the Lyric Opera, has now broken through the cost barriers of past pedestrian sets and has earned a highly desirable visual impact to accompany a finely staged direction. McCrary has a great craft of keeping the pace of the opera always moving at a good pace, never letting a moment last longer than it should. This is a sign of a great opera director. His comedic approach balances the fine line of British humor that can at times be a little outdated and hard to understand.
The vocalists all had great success. A mostly undergraduate cast, the vocalists all gave promising performances with standouts that included Trey Hoadley as Sir Joseph Porter, KCB, Geo Flores as Ralph Rackstraw and Taylor Vollmer playing the role of Josephine. Rachel Pena played the somewhat difficult, and comedic role of Buttercup. Her voice was a dark textured mezzo with a very nice range of effective stage movement and acting. Playing the part of the crazed hunchbacked shipmate Dick Deadeye was Christian Silliker. He was constant in his comedy and characterization throughout the opera, and sang effectively during his solos. All he needed was a parrot on his shoulder. Daniel Watson as Captain Cocoran, was charming, dislaying the best voice of the show. A big fella, his attention to his choreography and a gracefulness usually found in top rate chorus dancers made his role come to life whenever he was on stage. The chorus all did a decent job with diction needing a little more rehearsal. English is such an unforgivng language to sing.
The choreography, by Michelle Pietri, was lively and took full use of the downtown UTSA stage. With the exception of one late lighting cue, Chris Muenchow did a very good job at lighting the show. Okay, the big surprise of the night came from below the stage. With only seven instruments, Music Director Robert Brewer led a compact and exciting ensemble that did not handicap the production because of size. Beautiful violin solos by Saul Romero and precise entrances on the percussion by Sarek Gutierrez, this was a team effort all around and everyone should be applauded and praised, especially Dr. McCrary.
The Phantom now takes off his white bloodied glove and points to everyone who says they love and care for the artform of opera but then doesn’t attend the opera’s when they are presented. What is this telling the opera students on the stage? Come on SA, let’s get out to see the final show on Sunday at 3:00pm.
