Important and Spectacular “Carmina Burana” at Skylight

Here’s how cool it is to go to the theater.

I had just finished watching a production that had no story, unusual sounds, not a syllable of dialogue, dozens of characters all without names and sung in a foreign language or two that I don’t speak and it lasted just seconds over an hour.

And I found myself absolutely in love with the whole thing and while the production is complex, the Why I loved it is simple.

Everybody on the stage let me know that what they were doing was important, with a capital I.

The event was opening night of “Carmina Burana” at Skylight Music Theatre.

Before arriving – totally unfamiliar with this thing – I discovered it was written in the middle of the last century by Carl Orff, who called it a composition of “secular songs for singers and choruses to be sung with instruments and magical images.”

I couldn’t even figure out what that meant.

But leave it to the fertile and sometimes freaky mind of Jill Anna Ponasik to take something like Burana and turn it onto its head and offer it up on a solid golf plate for even a commoner like me to enjoy.

Ms. Ponasik runs the Milwaukee Opera Company  and is an Associate Artistic Director at Skylight. She is the woman who has brought us dazzling and memorable productions about a monkey, a cracked version of “The Mikado,” another no dialogue piece based on a life of a woman adventurer nobody has ever heard of an a story about friendship that was performed in a bookstore.

Let us make no mistake about “Carmina Burana.” Although there was plenty of help, most notably from Music Director Janna Ernst and Choreographer Dani Kuepper, this was the brainchild of Ms. Ponasik.

And Thank God.

This production is a seductive assault on your senses.

The music comes from two pianos six percussionists under the exquisite baton of Benjamin Bedroske, the Chant Claire Chamber Choir which added its voices from the top boxes of the intimate Cabot Theatre.

Ms. Kuepper brought along a handful of friends from Danceworks, where she is the Artistic Director, all dressed in shade sf grey, except for a momentary slide into a slinky red dress for Danceworks veteran the freshly shorn Cristal Wagner. Ms. Wagner danced a deductive pas de deux with tattooed tenor Tim Rebers, who sang while she danced.

And then there were the singers.

Ms. Ernst and Assistant Music Director Maggie Rebers (the two pianists as well) took this cast of musical marvels to places that seemed almost heavenly.

Ranging from veteran baritone Bob Balderson to a five young performers, the took the stage as ensembles of various combinations and as soloists to deliver dramatic, comedic and mysterious songs that were always gripping.

There were magical moments, including “Once I Swam in Lakes,” featuring one of my all time favorite Milwaukee singers, Nathan Wesselowski. Plus the fact that his talented young daughter, Lorelei was in the same show with her dad, was extra special.

The score might have been translated into English, but they wisely decided not to bother, but to let the power of the music and the voices carry the day.

Sets by Lisa Schlenker were simple and the always magical lighting by Jason Fassl was a performance all by itself.

The only concession to an audience like me, who had no idea what was going on, was a giant orb on a black curtain that was lit with occasional phrases – “I Feel Pretty – and images, a field of daisies.

It has to be mentioned that I have seen dozens and dozens of show at the Cabot over the years and can’t remember ever seeing an audience in such rapt attention. There was nary a fidget or murmur during the entire 65 minutes. And when it ended, the standing ovation was not out of duty – as is so often the case – but out of a shared respect, affection and love for “Carmina Burana,” whatever it was.

Pretty cool. Pretty damn cool.

Production credits: Stage Director, Jill Anna Ponasik; Music Director, Janna Ernst; Choreographer, Dani Kuepper; Scenic Designer, Lisa Schlenker; Costume designer, Shima Orans; Lighting Designer, Jason Fassl; Conductor, Benjamin Bedroske; Production Stage Manager, Daniel J. Hanson; Production Photographer, Ross Zentner.

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