BWW Reviews: Westmont's NIGHT AT THE OPERA

Despite being a small liberal arts college (especially in comparison to the more sizeable performing arts programs at Santa Barbara City College and UCSB), the Westmont theatre department consistently produces interesting work. As a once-upon-a-time theatre undergraduate, I'm gratified to see student theatre that takes risks and introduces conversations about the diverse range of possibilities within the sphere of the theatrical arts. Westmont's recent production of two one-act operas at the Porter Theater is a prime example: a collaboration between the theatre and music departments, the production was a product of a musical theatre course offered in the fall quarter. Featuring talented vocalists and musicians, Westmont's one-act operas were fresh and distinctive. This type of show gives students a perspective of theater as a musical art-and music as a vehicle for theatrical storytelling.

Westmont's production of these two operas was lively and engrossing. The one-acts, which included La Serva Padrona by Giovanni Battista Pergolesi (liberetto by Gennaro Antonio Federico) and The Old Maid and the Thief by Gian Carlo Menotti, emphasized a spirit of humor and mischief. It was satisfying to see the production being enjoyed by audience and performers alike, even in the moments when the perfection one might expect from a professional performance ebbed.

In La Serva Padrona (The Servant Turned Mistress), the maid, Serpina, has become prone to taking liberties in her position, acting in some ways as mistress of the household. Her master, Umberto, is surly and annoyed by her demanding nature. He decides to take a wife so he can fire Serpina. Clever Serpina, however, through the type of unelaborate ruse that only works in theatre, tricks her churlish master into marry her. All is well; Umberto realizes he's loved Serapina all along.

The theme of manipulative servants continues in The Old Maid and the Thief, though the Menotti piece is considerably more complex than the Pergolesi. In The Old Maid, (which, interestingly enough, was originally written for radio) an attractive drifter comes begging for alms at the door of an unmarried woman (Miss Todd) and her maid, Laeticia. The two women, both unsatisfied with their routine existence in a town with, apparently, very terrible weather, decide to invite the beggar, Bob, to stay. However, Miss Todd is without means, and the two women resort to thievery to maintain the funds to keep their "guest" comfortable.

The Old Maid and the Thief presents a more psychologically complex story of resentment and vindictiveness: Laeticia is afraid of becoming an old maid like Miss Todd, and has set her sights on Bob. She convinces her employer to continue their crime spree by implying to Miss Todd that Bob may agree to marry her. Despite these darker themes, the production as a whole committed to a more lighthearted tone. Exaggerated physical theatricality provided humor rather than melodrama, and the scenes were rooted in a well-constructed universe of the lightly absurd rather than overwrought flippancy.

The operas featured the vocal talents of Robert Huff, Wendy Kent, Matthew Maler, Serena Lee, McKenna Kleinmeier, Emmalee Wetzell, and Walter Dyer. Celeste Tavera provided vocal training, and the orchestra was conducted by Michael Shasberger. Stage movement, directed by John Blondell, gave the cast plenty of specific, thematic gestures, but didn't overextend performers to achieve vigorous feats of movement that might destabilize vocal performances. An exciting aspect of the production was the inclusion of the onstage orchestra, which provided a direct visual connection between stage action and music.

Westmont's short operas offered an evening of excellent music and impressive vocal talent. This collaboration between the theatre and music departments was a pleasant cross-pollination of the performing arts, and I continue to be impressed by all that the Westmont performing arts programs have to offer students--and audiences.

NEXT UP FOR WESTMONT:

The Nina Variations
By Stephen Dietz
Directed by Brynn Mitchell '15
February 6 and 7 at 8 pm Porter Theatre

The Insect Comedy or The World We Live In
By Karel Capek
Directed by John Blondell
February 27 - 28 at 8 pm
March 5 - 6 at 8 pm
March 7 at 2 pm Porter Theatre

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