Thursday, January 14, 1999
Hollywood makeover
ONCAMPUS: "Poulenc and Puccini in Thirties Hollywood" combines
two operatic comedies in a familiar setting
By Laura Noguera
Daily Bruin Contributor
There is something in the water of Zanzibar as one woman, tired
of the restrictions placed upon her by her gender, discards her
role as housecleaner and cook and magically takes on a new
appearance.
This weekend, Opera UCLA presents "Poulenc and Puccini in
Thirties Hollywood" in Schoenburg Hall. Presenting the two operas
together is unheard of, and setting them in 1930s Hollywood is a
first. But the gender-bending themes of Francis Poulenc’s "Les
Mamelles de Tiresias," like the Giacomo Puccini opera "Johnny
Schicchi" that shares the program’s bill, don’t seem to need much
decade shifting.
"Some people call (‘Les Mamelles’) a feminist opera," says
Dorothy-Jean Lloyd, UCLA graduate student and stage director of
"Les Mamelles". "But I call it a gender-neutral opera."
"Les Mamelles" tells the story of Tires, a rebellious homemaker
who is discontented with her responsibilities and desires to
exchange her body for a man’s.
"She notices a beard growing on her face and her breasts are
slowly floating away from her body," Lloyd says. "We do a very
funny scene with balls."
After Tires morphs into Tiresias, her entire world is
misconstrued as she makes a life as a man. Tires’s husband
transforms into a woman and other men remark about his beauty.
Poulenc adapted the poet Guillaume Apollinaire’s original story
into the opera in 1944.
Now Apollinaire and Poulenc’s true intentions are definitely
open for interpretation as "Johnny Schicchi’s" stage director Frans
Boerlage breaks down "Les Mamelles" differently than Lloyd
does.
"(‘Les Mamelles’) has a moral and the moral is make babies and
don’t fight," Boerlage says.
The setting and time period of this production distinguish
UCLA’s "Les Mamelles" from others. The townspeople are Santa
Monicans, each playing cast members from various legendary
Hollywood performances, such as Dorothy from the "Wizard of Oz" or
Rudolph Valentino as the sheik.
"It’s whimsical for American audiences," Lloyd says. "But we’ve
still managed to keep our finger on the heart of the story."
Following "Les Mamelles" on the bill is UCLA’s version of
"Johnny Schicchi." Many organizations perform "Gianni Schicchi,"
the second opera on the bill, but rarely does an updated version
tell the story of the death of Donati and his benefactors.
Delightful differences in characters and lyrics set the production
apart from its intended Italian Renaissance era.
"With a lot of operas you just can’t change the period," says
conductor William Vendice. "But with this one it fits. It’s
amazing."
Now the supposed heirs to the fortune are not after the prize
mule and the Florence home, but the fastest car in Hollywood and
the Hollywood hills mansion.
Although "Les Mamelles" and "Johnny Schicchi" are both comedies,
their styles are distinctly opposite. Making the transition from
"Les Mamelles" jovial spiritedness to the humorous stiffness of
"Johnny Schicchi" is challenging for both actors and audience.
"In one you act silly, the other you are totally serious while
you’re doing a funny thing," says Ciera Lamborn, a graduate voice
student playing roles in both operas. "It’s challenging making
(‘Johnny Schicchi’) as funny as (‘Les Mamelles’)."
A framing scene, in which Buster Dorato plays a filmmaker in
both operas, smoothes the transition from the first to the second
opera. But since the audience will be accustomed to the exaggerated
bright humor at the conclusion of "Les Mamelles," it may find the
sarcasm in "Johnny Schicchi’s" dark comedy shocking.
"To go from a light thing into a heavier comedy, you have to
change gears as an audience," director Boerlage says.
Although "Les Mamelles" is performed in French, language
barriers should not impede audience enjoyment. Supertitles will be
projected above the stage, using a new system in the Shoenburg
auditorium.
UCLA’s music department is looking forward to a successful
performance of both operas, but in particular "Les Mamelles de
Tiresias."
"I’ve never known any organization except big companies to do
‘Les Mamelles,’" Vendice says. "A lot of people will never have
heard it before."
MUSIC: "Poulenc and Puccini in Thirties Hollywood" runs Jan. 15
– 17. For tickets and information call (310) 825-4761.Photos by
MARY CIECEK
UCLA Opera workshop puts a gangster twist on the opera "Gianni
Schechhi" by renaming it
"Johnny Schechhi." Andrew Ahlquist plays the policeman.
Dalia Farouk plays the Gypsy in the UCLA Workshop opera "Johnny
Schechhi."
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