Insider Rehearsal Report: Introduction to Offenbach
On a steamy weekday afternoon at Saint Mary's school all-purpose room, five free-standing doors replace neatly stacked tables, and rows of cornstalks line the walls, blurring the myriad of 1st communion pictures that adorn the cinderblock. It is clearly time for an Orpheus rehearsal, courtesy of the Glimmerglass Opera. The question is... which one? There are 5 distinct options this season, ranging from the avant-garde Glass to the traditional Monteverdi. Today's rehearsal however, has been reserved for Offenbach.
Filth, lust, beekeeping and showgirls are just a few of the topics touched on in this hilarious operetta that pulls at both hearts and funny bones as the myth of Orpheus is, well, transformed. The once happy marriage between Orpheus and Eurydice has become a mockery, and the chaos that ensues as the gods bicker for her affection will keep everyone laughing each minute. By the end of the show, every audience member will be dying to know: Who will Eurydice choose?! Well, you are just going to have to come see it because I certainly will not tell you!
Directing an opera has its own distinct and monumental challenges, and directing a comedy requires precision and incredible detail to timing. To seamlessly combine both is nothing short of a rehearsal colossus, but director Eric Einhorn is up for the challenge. His eclectic background, ranging from Mozart's Cosi Fan Tutte all the way to Stravinsky's Oedipus Rex, gives him the dramatic knowledge and the theater savvy that will guide the actors through the hysterical dialogue as well as the extravagant vocal lines. In rehearsal, Einhorn stays focused while constantly thinking up images to help the actors imitate the specific musical comedy style without overdoing it (unless it is necessary, of course!) One of my favorite images was when he asked the female chorus to "loom in like in West Side Story" on Pluto, a god who does not see them coming.
The actors are remarkably good sports, especially with such a brief period of time to put the piece together. Tenor Kurt Lehmann started rehearsal Saturday, June 9th, and by the time I saw him on Monday, June 11th, the script was out of his hands. For an opening on July 7th, time is precious and each second counts. A three hour rehearsal can fly by if time is wasted, but the synergy needed by both the staff and performers is crucial for making sure details are not ignored. A conductor, vocal coach, accompanist... these important staff members are at every blocking rehearsal to catch musical notes while the directing team is focusing on dramatic arc. At a break, an actor may receive a different note from each member of the staff and must implement it as soon as they can. There is no wasted time in operetta, no matter how clever the delayed punchlines may be!
