Is Shakespeare Opera Theatre’s La Vie de Bohème a production of Puccini’s La Bohéme? All that and more! Typically, with SOT’s amazingly creative and resourceful Managing Director Dr. Lori Lind, there is more. Even if you’ve seen La Bohème several times, you will learn more of its backstory, delivered as theater not lecture. You will also be provided a delightful evening of entertainment by young players, full of immersive singing, music, high energy, comradery, and romantic love. It’s an all-around feel-good experience delivered in a party atmosphere with table seating and refreshments, as much a night out at the club as a night at the opera. Just imagine you are at Café Momus.
The December 6 cast of Shakespeare Opera Theatre’s La Vie de Bohème - Vincent Fung, Nicholas Carratura, JP Gorski, Alicia Woodberry, Justin Meyer, Isabella Umberger, Adrian Salman, and Bryanna Toll. Photo courtesy of Shakespeare Opera Theatre.
La Bohème by Italian composer Giacomo Puccini and librettists Luigi Illica and Giuseppe Giacosa tells the story of four bohemian friends, poet Rodolfo, painter Marcello, musician Schnaurd, philosopher Colline, and two of their love interests, Mimi and Musetta, set in 1840s Paris. It begins in winter, and it’s freezing in the garret apartment with little fuel for the wood burning heater. The guys are young, idealistic, devoted to their arts, and willing to suffer the deprivations of being penniless while their spirits ride high. Mimi is a poor seamstress who enjoys her simple life embroidering linen and silk, especially with roses and lilacs; she suffers from consumption. Musetta is a fiery spirit who lives by her wits and the generosity of her rich suitors. Rodolfo and Mimi fall deeply in love, and Musetta and Marcello are a pair when they can stand each other. The couples are on again off again until the sad ending. There will be tears.
Poster courtesy of Shakespeare Opera Theatre.
The opera is based on the 1851 book Scènes de la vie de bohème by Henri Murger, a collection of stories about bohemian life in the left bank. Dr. Lind, a huge fan of Murger’s book, decided to embellish SOT’s production by adding prologues with additional information to the beginning and between acts II and III of the four act opera. The only deletions from La Bohème were some chorus selections from act II. The librettos for the prologues were taken directly from Murger’s narrative and the music extracted from the opera. The first prologue tells the story of how the characters met and came to be friends. I liked this enhancement. For a production of La Bohème to work for me, the four male singer/actors must be convincing that theirs is an ebullient, soulful friendship, and this production meets that test. The second prologue addresses the gap between the first half of the opera and the second. We are left in act II with two couples joyously in love and then act III begins with Rodolfo and Mimi headed towards separation and Marcello and Musetta fighting. What happened? This has always bothered me. Dr. Lind added the second prologue to address the gap. BTW, Illica and Giacosa had added a middle act in their original libretto to address the issue, but Puccini had deleted it. Go figure. One might have expected at best that Dr. Lind’s prologues would consist of a single character revealing what had happened in a monologue, but in Dr. Lind’s hands these are scenes adding to the enjoyment with singing, dancing, and music. Remarkable, no?
Dual casts for some roles. Left photo is Nicholas Carratura as Rodolfo and right photo is Conner McWhirter as Rodolfo. Alicia Woodberry appears in both but alternates with Melissa Chavez in the role. Photos courtesy of Shakespeare Opera Theatre.
I began watching this performance with a critic’s eye and ear but then the magic happened, and I just wanted to relax and enjoy it. The beginning prologue and the first bantering engagement of the four friends was fun and entertaining, but the drama begins in earnest when Rodolfo and Mimi meet for the first time and fall in love, and we are treated to Rodolfo’s “Che gelida manina” and then Mimi’s “Mi chiamo Mimi”. A likable romantic Rodolfo was projected by tenor Nicholas Carratura whose voice took a while to warm up and reveal the richness of his voice and singing talent, especially effective in later scenes. It was Mimi, sung by soprano Alicia Woodberry, that caused the magic to appear. Her lovely voice and singing fully drew me into the drama. She appeared previously in SOT’s Hansel and Gretel, and one hopes she will reappear often. The production was further enhanced by soprano Simone Brown as Musetta. She brought the personality and delivered a fine “Quando me’n vo”, a favorite aria from the opera. Marcello was well played and sung by veteran SOT baritone JP Gorski. Bass-baritone Vincent Fung as Schaunard and bass Adrian Salman as Colline were a hilarious comic pairing, with each having their moments to shine singing. SOT veteran Justin Meyer sang three roles as narrator, landlord Benoit, and Musetta’s suitor Alcindoro and was effective in each. His acting and singing as the narrator was a special delight. In minor roles, Isabella Umberger as Schaunard’s girlfriend Phemie and Bryanna Toll as porter/waiter added to the fun.
Simone Brown as Musetta and Justin Mayer as Alcindoro. Photo courtesy of Shakespeare Opera Theatre.
Dr. Lind further modified the production by having individual arias sung beautifully in Italian with projected supertitles in English, but the group, especially comic numbers were sung in English without supertitles. She explained she wanted the productions to be as accessible as possible and the feedback she had received from attendees who are unfamiliar with opera was a plea for more English. A venue of this size cannot accommodate an orchestra and full chorus, so Puccini’s gorgeous orchestrations must be sacrificed. However, excellent accompaniment was provided on piano by SOT Music Director Dr. Lisa Bloy who did a masterful job providing Puccini themes and melodies well timed with the singers.
Bryanna Toll as Porter/Waiter and Isabella Umberger as Phemie. Photo courtesy of Shakespeare Opera Theatre.
The engaging set and costumes were another marvel of Dr. Lind’s. They did an excellent job of delivering a sense of the time period of the story and the mood of the scenes. She tells the story of how the use of the piano for Schaunard’s scenes was acquired by an offer of opera tickets. A tapestry displaying a ball room from Versaille was remarkable. All of this contributed to the magic.
Do you like classic stories with live music, singing, and acting? Met Opera’s Lincoln Center may provide the space for spectacle, but SOT’s venue allows for intimacy and an immersive experience. You won’t get more close-up to live singing than this unless you are part of the cast, and you won’t find a more friendly and welcoming atmosphere anywhere than Shakespeare Opera Theatre.
The Fan Experience: Performances of Shakespeare Opera Theatre’s La Vie de Bohème were scheduled for 6, 7(2), 11, 14(2), and 15 at the St. Thomas Episcopal Church in McLean; see this link for tickets. Some vocals are in Italian with supertitles in English and some are in English. The performance with Dr. Lind’s comments lasted about 2.5 hours, and the cast came out to mingle with attendees after the final applause. Because there are two performances on two of the scheduled dates, there are two scheduled casts for some of the lead characters; a listing can be found in the online program book. Free parking is available.
Shakespeare Opera Theatre performs classic works by Shakespeare and others as well. Their next production will be Rachel Luann Strayer's Drowning Ophelia with music from Ambroise Thomas' Opera, Hamlet. This selection was made to bring recognition to the long term damage that domestic abuse causes to many, and as a message of hope to those who have suffered. April is Child Abuse Awareness Month. Performances are being scheduled between April 2 to 12,
SOT’s performances have more of a party atmosphere rather than the church service atmosphere of our major opera halls. I have found little pretense with SOT; they readily own their limitations and still manage to engage us fully. Dress is “as you like it” and seating is at tables. Snacks and drinks are offered for sale which can be consumed before, during, or after performances. Attendance by children is welcomed.