On Shaky Foundations at the Dunster House Opera

CANDIDE

Directed by

Lane Shadgett and Eric Tipler

At Dunster House

Through Feb. 20

In spite of some minor technical difficulties (the stage broke), the Dunster House Opera (DHO) gave a sell-out performance of Leonard Bernstein's opera/musical version of Voltaire's Candide last weekend. The cast, particularly Joseph Nuccio'00 had a great deal of fun with an already witty, sarcastic and sexually infused libretto. Audience laughter often echoed the mirth of the lighthearted and light-footed cast.

Voltaire's central theme in Candide is that the simple life is best and that one must cultivate one's own garden. The Dunster House Opera remained true to Voltaire's dictate, with an uncomplicated set made up of a backdrop representing the blue sky and two poles upon which various objects were hung as an indication of place. (For example, when Candide journeyed through Eldorado, the city of infinite riches, golden streamers were hung from the poles.) The actors used large wooden blocks as chairs, ships, tables and basically anything else that had to be constructed for the musical. Although on the small side, the stage never felt overcrowded at all, since the only objects on it were blocks and the two poles. The Dunster House Opera was staged much like a regular opera at one end of the dining hall, with the orchestra in a corner, demonstrating that one can successfully stage an opera in a dining hall.

In fact, DHO's stage offerred a radical new take on Voltaire's classic story. Roundly showing that this is not necessarily the best of all possible worlds, the stage broke twice. I did not notice the first time the stage broke (apparently a supporting pillar cracked), so clearly, the stage's problems did not detract from what was happening on stage. Sometime during the second act there was another crashing sound (this time I noticed it) and the actors quickly rearranged some of the blocks to mask whatever harm had been done to it. The cast certainly believed that "the show must go on."

And on it went. Nuccio's performance as Voltaire himself, Dr. Pangloss, Cacambo and Martin wowed the audience. One of Nuccio's most memorable numbers is in the angrily energetic "Auto Da Fe" (riot), when he, playing Dr. Pangloss, sings about how he contracted a virus most resembling syphilis in an attempt to save himself from execution for heresy. At several points he breaks into a curious Russian dance, the ensemble matching his energy and spirit as they kick and push him towards one of the black poles, set up as a gallows. Not only is the song about his contraction of the disease hysterically funny, but all of Nuccio's hand gestures, facial and physical expressions take Candide beyond slapstick. In every scene in which he performs, Nuccio is unquestionably the star, the embodiment itself of the actor who throws every part of himself, body and soul, into the performance.

Jennifer Little '99 and Ezra Keshet '99 are perfectly cast as Cunegonde and Candide, lovers who travel the world searching for each other. Keshet, with his naive expressions and constant smile is exactly the kind of optimist Candide should be--a character who believes that all is for the best in the best of all possible worlds (Voltaire is parodying a certain strain of Leibniz). Keshet shows off his excellent voice in "It Must Be Me" and the last few numbers, while Little, as Cunegonde, displays the range and quality of her voice in the solo number "Glitter and Be Gay," in which she sings several impressive scales.

Lee Poulis '02, who also starred in last fall's Ethan Frome, nearly stole the show from Nuccio. In Candide, Poulis is Maximillian, Cunegonde's obnoxious brother. From his very first appearance, when he gasps at the possibility of having a pimple on his perfect skin, the audience knows they are in for a treat. Poulis' rich baritone is always recognizable for its professional quality, and although we know that he is having fun playing the vain Maximillian, a certain seriousness also runs through his performance. However, one of Poulis' best scenes is when he is taken to the New World as a slave, dressed in drag and nearly taken as a concubine by the Governor.

Sarah Myers '02 ably plays Paquette, the philandering maid who pops up, smiling and preening, wherever Candide travels. The Old Lady, played by Heidi Brown '99, is also quite funny as she sings about her sad fate and her only one buttock, but occasionally her affected accent obscures her lines. In "Easily Assimilated," Brown shines as she dances and whirls--apparently, missing one buttock does not prevent one from dancing well.

Yet Candide is not entirely fun and games. While it attacks high learning, the army the aristocracy, government, casinos and law enforcement with clever sarcasm and wit, it also portrays slavery and prostitution with the same humor. It pokes fun at Catholic priests, Jews, New World Indians and others in a racially offensive manner. Some of the characters in particular, such as the Dutch shipmaker Vanderdendur, the New World governor and the Old Lady, rely on stereotypical accents and mannerisms as well. There is also rather graphic scene in which Cunegonde is nearly raped by a soldier. Certainly, there is a tradition in the esprit francais of irony, satire, parody ody that pokes fun at every institution, goodor bad. It started in medieval times with thefabliaux, continued through Moliere.Voltaire, and flourishes in Modern days withLes Chansonniers, Les Freres Jacques, LesInconnus, George Brassens and Le CanardEnchaine.

Candide's tones is often irreverent, butthe puns are so enjoyable that no one coplains.One the whole, Candide is an amusingmusical experience and an exciting piece of thespirit of Gaul

Candide's tones is often irreverent, butthe puns are so enjoyable that no one coplains.One the whole, Candide is an amusingmusical experience and an exciting piece of thespirit of Gaul