Review: The Coup Stumbles at WNO's THE DICTATOR'S WIFE

Watching Washington National Opera's The Dictator's Wife, you would be forgiven for asking, "Haven't I seen this before? Wasn't there a balcony in Argentina or a disco in Manilla? Talk of star quality and the fabulous one? A protagonist telling us not to cry for her and that here lies love, or something along those lines?"

The title alone leads one to think of Evita and Here Lies Love, musicals whose main characters were, just that, a dictator's wife. However, as spectacular as both shows were at exploring the dynamic personalities of Eva Peron and Imelda Marcos, The Dictator's Wife stumbles like a badly engineered coup with the fault lying solely with the opera's librettist Mohammed Hanif.

Granted this is a world premiere, presented as part of the American Opera Initiative, whose goal is to encourage new work, and The Dictator's Wife should be seen as a first draft. And while the aforementioned musicals are just that, musicals and not opera, the comparison is fair. As the titular character, Allegra De Vita is stunning and commanding as the First Lady, just like Eva and Imelda. The problem is that, unlike those roles, this First Lady has nowhere to go. And that's a shame because Mohammed Fairouz's score is quite enjoyable, and contains a few surprises.

From the opening notes, he conveys a foreboding political situation, while also highlighting the First Lady's devious mentality. The vibrant 13 piece orchestra, conducted by Nicole Paiement, excels at providing some much needed background to the story. Once again though, it's underserved by Hanif. His work isn't satirical, with all of the humorous moments falling flat. Furthermore, it's unclear what he's trying to satirize. One answer may be politics, but then it's fair to ask, what aspect(s) of politics or society?

Set in an unnamed land, the ravishing First Lady laments the state of her life and the collapse of the country. Walking around her opulent bedroom and surrounded by 5,000 roses, she's left to confront a husband who won't come out of the bathroom, and a barrage of protestors that never leave the grounds of the country's presidential palace.

"What type of man sends 5,000 roses then sticks himself in the john," she sings.

The opera only devolves from there with a visit from Ms. Holy (Ariana Wehr), a director of zombie movies. Providing the only semblance of comfort for the First lady is the presence of her husband's Aide de Camp (Hunter Enoch).

Enoch's Aide to Camp seems to be the only semblance of order left in the country. His baritone voice is the perfect fit for the role and he and De Vita make a great pair, but again, it's unclear what exactly they want to accomplish together.

There's an puzzling scene where Ms. Holy attempts to persuade one of the protestors (Timothy Bruno) that if his son, who's on death row, comes out as gay, his life might be spared. The whole scene comes off as awkward and Hanif seems unsure of what he wants to accomplish. It's a shame because Bruno's bass voice lovingly conveys the impassioned fight of his son.

Ethan McSweeny's all encompassing direction makes full use of the Kennedy Center's intimate Family Theatre. He has the protestors placed in the audience, while keeping the First Lady onstage, showing the distance between the two groups. For an audience familiar with government buildings and barricades, it's an effective use of space.

Watching The Dictator's Wife, one can't help but wonder about the opera's potential promise. The setup is interesting, and its fictitious setting allows it certain room to communicate a message. Politics and leadership are rife with drama making opera the perfect theatrical outlet. However, there has to be a message and clear story, rather than just the absurdity of the story's situation.

As an audience well-versed with the intricacies of public officials, and their private lives, we understand the situations they find themselves in to be, at times, peculiar. That's where any further development of The Dictator's Wife should start. After that though, it must decide where it, like the unnamed country it is set in, wants to go.

Runtime was one hour with intermission

The Dictator's Wife, part of Washington National Opera's American Opera Initiative Festival, played two performances this weekend at The John F. Kennedy Center for the Performing Arts. For more information, please click here.

Photo: Allegra De Vita. Credit: Scott Suchman.

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