Elisabeth Carlton Dowdy, Michele Baez, Chase Peak and orchestra members from "To Damascus" (Photo by Bill Sigafoos)
THE PLAY: This is a world premiere by local composer Walter Braxton. The road to Damascus was where Paul the Apostle was converted, but there's no narrative. Just an assemblage of biblical musings.
THE PRODUCTION: This is not a musical, but an string of songs sung with operatic styling. The experimental staging has none of the grandeur of a traditional opera. There are no rarefied divas, just five regular people in regular clothes.
The voices sounded as expected for operatic style. Even though they can be heard with no amplification, they often can't be understood. It probably doesn't matter, since the lyrics are more poetic than literal.
Director Joel Bassin has employed mostly static staging with the exception of a few moments when the singers wander about the stage. He did, however, give them lots of ritualistic busywork: making sandwiches, arranging flowers, putting on and taking off whiteface. Even though there may be symbolic meanings, it feels more like an exercise in absurdity. The most enjoyable moments are watching Braxton walk on stage to kick off and close each act with a grand gesture.
The strongest aspect of this production is Braxton's score. Every song features rich, moody melodies. Since they all have a similar tempo and texture. it feels almost like one continuous song. The 16-piece orchestra is crammed on an elevated platform at the rear of the stage with Conductor Michael Knowles on a stand out front. They sound sumptuous and beautiful throughout.
The stage is covered in a maze of suitcases, trunks and shoes with lighting coming from an array of hanging bare bulbs.
Running time: 1:30
THE POINT: While the music is lovely and the singers are good, this is a more a tone poem with experimental staging than a traditional musical experience.
"To Damascus" is on stage at the Firehouse Theatre through Feb. 22.
Read more reviews by Jerry Williams on SIFTER (TVJerry.com).
