It never ceases to amaze me how each audience reacts differently to our opera.  We have presented The Elixir of Love to kindergartners, children, teenagers, and adults of all ages, including an audience at a senior living community.

Sometimes the reactions are predictable: adult audiences tend to react to the things we say, while young children react to the things we do.  Other times, a particularly resonant or reverberant acoustic causes the words to be less distinguishable.  And in a few cases the lighting in the venue is so low I wondered whether we could even be seen at all.  Then there is the exciting opportunity to perform in the beautiful theater at Eastern Oregon University, complete with stage lights and a hyper responsive audience. But even with without all these variables, it seems that watching an opera can mean wildly different things to our audiences.

I feel extremely fortunate to be an ambassador not only for opera, but for all the performing arts.  So often it seems that performing arts organizations struggle to encourage people to attend.  There's some sort of barrier between people's lives and a seat in an auditorium.  We create new ways to get people to buy tickets and market our productions.  But we often forget the effectiveness of going to our audience instead of asking them to come to us. 

First of all, I love my job…I love my job….I love my job.  I really do.  But 6:30 am is too early to be driving to a gig.  I keep asking myself over and over, “Who the [blazes] booked this thing???!”  And then being forced to answer, “Oh.  I did.”  

Portland Opera To Go is in full swing and we have been experiencing terrific success, both in schools and in our various McMenamins venues.  I couldn’t be more pleased or proud of the magnificent and heroic work ethic and professionalism exhibited by my cast, and their ability to pull a brilliant performance out even when the evening performance is 12 hours after our initial call.  We did that this week.  I am telling you—we are Opera Peace Corps, the toughest job you will ever love.

But, of course, even the toughest job has its perks.  For instance, watching Stacey Murdock as Dr. Dulcamara turn on the bubble machine in his cart and watching the kid sitting next to me gasp and bounce, exclaiming, delighted, “Now, THAT’S cool.”  Or having an octogenarian taking the usual place of a kindergartner delivering a “telegram” in the show, and having him be as full of joy as a five-year-old to help us out, even as he gave me a knowing wink.  Or getting to actually say, “Yeah, we are playing The Crystal tonight.”  Or seeing our pianist, David, sitting on an amp at the keyboard on the sidewalk at 14th and Burnside in the middle of the night as we loaded out of the Crystal Ballroom.  

Rehearsals have begun for The Elixir of Love with Portland Opera To Go, and we are so excited for our first performances next week! There’s lot of things to look forward to with this show for me, like a great opera, a creative adaptation, generous and talented colleagues, and the mother of all tours throughout Oregon. But I want to tell you about our SET. When we walked into the door to see it the first time, we all just gasped! It is so beautifully designed and executed.

The set for this production was conceived by our director and librettist, Kristine McIntyre. She took her inspiration from a painting from 1934 by American artist Thomas Hart Benton. This is the painting:

Kristine told me that only when she saw this painting did she realize that it would be possible to set this opera in the USA in the 1930s.

After Kristine’s inspiration, the set was designed and created by Polly Robbins, with support from members of the Portland Opera technical staff. It is so beautiful and whimsical. 

Well, the countdown continues!  Today I went to the warehouse to check on what I might need to bring with us and got a wonderful preview of our set.  The folks at the warehouse were excited to show me all of the bells and whistles, and I have to say, it may be our cutest set ever!  Not only is it adorable, but it is beautiful and painterly, based heavily on the artistic style of Thomas Hart Benton.  

More important to me while wearing my tour manager hat, is the amazing and ingenious ease with which it has been designed and executed.  No tools are needed in the set up or strike.  Our shop has truly outdone themselves.  Kudos to Jim Sisemore, Jonah Stagg and Linda McGinnis for a fantastic set and an enthusiastic and informative introduction to it—I cannot wait to see the cast’s faces when they see the world that has been built for them!