Shepherds (Brian Thorsett and Christian Reinert) embrace Orpheus (Michael Slattery).
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Making a modern version of an older opera, like
Monteverdi's L'Orfeo, is all about accentuating those contrasts while making them fit into a cohesive artistic vision. Director
Christopher Alden is casual and approachable, but obviously knowledgable about the opera and its history.
La Musica (Juliet Petrus) waits for her cue.
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In this early stage of rehearsing, the creative team divides its time between music and blocking. With any form of theater, the way an actor delivers his or her lines is essential to building dramatic tension. Conductor
Antony Walker coaches the singers not just on tuning or rhythm, but on expression. "In the end I want to conduct it as little as possible and have you drive it."
Directing is very much about taking a page with some music or words on it and creating a world out of it. No two directors will create this world in the same way. Alden's dynamic staging is a far cry from what could be staged as a rather stiff court drama. Instead, there is movement going on nearly every moment. Each line of music has a clear intention behind it and Alden ensures that the singers express it in the staging.
Director Christoher Alden shows Christian Reinert blocking.
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Alden shows the actors exactly what he wants by walking their parts, saying what could be their inner monologue. "'Let's get out of here.' 'Yeah, you're right; let's go now.' They're getting more and more freaked out," he said, describing the emotions that the shepherds feel when encountering Pluto, Lord of the Underworld.
