OPERA: Moby Dick

OPERA: Moby Dick State Opera of SA by GREG ELLIOTT MOBY Dick is a triumph!  Timothy Sexton, CEO of the State Opera of South Australia and conductor of Moby Dick, should feel very proud of this magnificent production: it is Jake Heggie’s latest opera and has been keenly anticipated since the outstanding success of Dead Man Walking. From the soft, opening notes, the audience is drawn into Elaine McCarthy’s spectacular projections of the mysterious world of the sea. As the music and story grow in power and intensity, so do the visuals continue to engage and absorb us in this tale of Captain Ahab’s obsession with revenge on the enormous white whale that claimed his leg and destroyed his balance. Composer Jake Heggie and lyricist Gene Scheer worked with director Leonard Foglia early in the creation of Moby Dick, and their successful collaboration has created a total and memorable experience. Robert Brill’s set is most impressive; it invites the audience to be on deck with the crew and allows the male chorus to do more than stand and deliver as they reach new heights when they exploit the many levels and positions on board. The combination of set, adorned by the cast in tasteful mariner tableaux, with awe-inspiring projections creates breathtaking scenes. Jonathan Lemalu, as Queequeg, sets the tone for the opera in his opening chanting and ritual; his deep, resonant singing fills the auditorium and we understand immediately there is more than one man’s journey that we will be experiencing in this performance. Moby Dick is more than a whale hunt: it is a meeting of cultures, an exploration of character, and it plumbs the inner depths of the male psyche. This opera explores what motivates men, how they deal with trauma and dilemmas, and the very nature of revenge. The cast is a tremendous blend of international and local talent: Jay Hunter Morris is an impressive presence as Captain Ahab, not only as the driven man who will not listen to his peers, but also as the reflective man who wonders what he has been and what he should be. There is interesting speculation about the place of God in this adventure and a comparison of a Christian with a pagan view of the world. The various relationships between the crew are a fascination, and James Egglestone, as Greenhorn, captures the innocence and development of a raw sailor who experiences the best and worst of man’s nature. Grant Doyle, as Starbuck and second-in-command, stands strong against Ahab and their duets are powerful, spell-binding conflicts. Each of the supporting cast and chorus and the Adelaide Symphony Orchestra make the most of every musical and theatrical moment of Jake Heggie’s superb score. What an exciting city and time we live in that gives rise to an international collaboration that produces a modern masterpiece such as Moby Dick. State Opera’s production of Moby Dick is as close as one could come to actually being on the Pequod and out on the open sea. It is a must for opera lovers and it is a brilliant initiation into the possibilities of modern opera for those unfamiliar with the genre. Link to original review here Moby Dick is at the Festival Theatre until September 3.