Review: WNO's APPOMATTOX Struggles to Capture the Civil Rights Movement

The world premiere of a revised version of Appomattox at Washington National Opera (WNO) has done something one would think thoroughly impossible. It has zapped the Civil War, the darkest hour in American history, of its emotion and cause of purpose. Even worse, it at times trivializes those who carried on the struggle for civil rights during the 1960s. The opera, however bold in its ambition to capture and celebrate the journey of freedom in America, can't seem to balance the events, people and cause of the movement.

Appomattox attempts to capture the fight for civil rights in the United States by showing the juxtaposition between the end of the Civil War in 1865 and the introduction of the Voting Rights Act in 1965. The parallel being that in the century following Robert E. Lee's (David Pittsinger) surrender at Appomattox, African Americans were stilled denied their rights.

Christopher Hampton's troubled libretto is where most of Appomattox's issues lie. All of Act I occurs during 1865 and yet there is seemingly no mention as to why the War was being fought. Abraham Lincoln (Tom Fox) is reduced to a politician consumed with premonitions, and the action centers around Lee and Ulysses S. Grant (Richard Paul Fink) plotting the final days of the War. One particularly tedious scene has them arranging, thru written correspondence, the location of the surrender.

What Act I does well is allow Pittsinger to shine as Lee. No character in the opera is given as much depth as Lee and Pittsinger uses his gorgeous bass-baritone to put on full display his character's inner turmoil. At no moment is this greater then after Grant leaves Appomattox and Lee is left to address his troops. Pittsinger is stoic and commanding.

Act II begins with Dr. Martin Luther King, Jr. (Soloman Howard) addressing Jimmie Lee Jackson's funeral. Jackson was killed by policemen for participating in a peaceful protest. King then heads to Washington to meet with Lyndon Johnson (Tom Fox) about his upcoming Selma to Montgomery March.

Act II is significantly worse than Act I since it seems more focused on the crudity of characters like LBJ and Dr. King. Yes, these characters had flaws, but the second act becomes about them and not the importance of the March to Selma or the Voting Rights Act. For example, does Appomattox really need a scene with LBJ dictating a meeting agenda while in the bathroom? No, but that's the scene you remember most.

It's tragic because Howard is a powerful Dr. King. His bass voice soars in a captivating scene at the Alabama state capital. This is the only moment where Appomattox captures the spirit of the Civil Rights Movement. And if the opera had more of these scenes, then it would be monumental. Even worse, this wonderful moment is followed by mentions of King's extramarital indiscretions, almost ruining what we just saw.

Despite Hampton's focus on LBJ's crass side, Fox gives a vibrant portrayal of our 36th president. His best moment is LBJ's televised address where his rich baritone voice conveys a presidential tone. In Act I, he uses thast same tone to expose the brooding and consumed nature of President Lincoln's effort to win the War.

There's a sense of urgency in Philip Glass' music. In Act I it's manifested in Lincoln's need for the War to finish, while in Act II the focus is on LBJ to intervene in Alabama and Mississippi. The score, expertly conducted by Dante Santiago Anzolini, is at its best with the rousing gospel infused-anthems.

Tazewell Thompson's direction is mixed with ensemble moments seeming rushed and sloppy. The blocking tends to have actors overlap each other and leave complete parts of Donald Eastman's functional antebellum set bare. However, the more intimate moments are sharp and focused. This includes a heartwarming scene where African American soldiers stomp on the confederate flag while marching onward.

Appomattox is being presented as a world premiere of a revised version. For those unaware, the opera started out as an opera in 2007, was transformed into a play and now is an opera again. After Saturday night's opening, it would appear that more rewrites are needed.

The topic, America's journey for universal civil rights, is too important and this could be a monumental work. Instead, the creative team has chosen to focus on the tedious nature of the characters, rather then what they full accomplished.

Runtime is three hours with one intermission

Washington National Opera's production of Appomattox runs thu November 22nd at the John F. Kennedy Center for the Performing Arts 2700 F Street, NW Washington, DC 20566. For more information and to buy tickets please call (202) 467-4600 or click here.

Photo: Soloman Howard and company in Appomattox. Credit: Scott Suchman

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