Washington, DC—The Atlas Performing Arts Center kicked off its much-anticipated “Intersections: A New American Arts Festival" this past weekend. The signature event? A sprightly—and rare--performance of ragtime genius Scott Joplin’s only opera, “Treemonisha,” mounted by the Washington Savoyards who are now resident at the Center. Directed by Michael J. Bobbitt, the opera will be performed again this weekend and next.
Since at least the 1970s, Scott Joplin (1867?-1917) has been regarded by many—myself included—as a uniquely American version of Frederick Chopin. In my opinion, at least, Joplin’s piano rags are worthy successors to Chopin’s mazurkas. A well-worn first edition of the original New York Public Library's edition of his piano compositions has been in my piano bench for decades.
Treemonisha (JoAnna Ford) tries to teach
Remus (Murvyn T. Cannaday II) to read.
Remus has other ideas.
From around the turn of the 20th century, Joplin, who once earned a living playing in bars and houses of ill-repute, eventually made a decent livelihood publishing his original compositions, mainly these same piano rags plus the occasional waltz or march. His pieces were and still are notable for their freshness, their user user-friendliness and, of course, their irresistible hallmark syncopation.
His signature “Maple Leaf Rag,” became an almost overnight sensation when it was published. Many of his later publications followed suit, making him the uncrowned "King of Ragtime." A little like Elvis and R&B music in the 1950s, ragtime music, particularly Scott Joplin’s, caught hold of American popular imagination, crossing racial barriers and percolating into the nation’s popular culture.
Eventually, however, the American craze for ragtime, like all crazes, peaked and faded. Joplin died penniless and largely forgotten in 1917, seemingly destined to live on as an American musical footnote. But ragtime survived him and other ragtime composers, finding its way into vaudeville routines and, most notably, into the evolution of modern jazz following the First World War.
Scott Joplin himself caught a posthumous break. His rags and other short pieces caught the imagination of a new generation of classical pianists in the late 20th century.
Starved for something new and appealing in a still atonal classical age, they began to incorporate an occasional Joplin rags into their programs. This move was perhaps inspired by the wild popularity of the still famous, too-fast version of Joplin’s “The Entertainer” which served as the signature theme of the hit Newman and Redford film “The Sting,” which also featured other Joplin rags. (BTW, Joplin insisted that rags were never to be played fast.)
Joplin is no longer a novelty at piano recitals, but it’s still no longer surprising to find his works on piano programs, a tribute to the staying power of his music.
While Joplin, like Chopin, composed almost exclusively for the piano, he eventually sought expression in larger classical forms. He’d never received conservatory training, but he was not entirely untaught. His mother, recognizing his talent at an early age, pushed him to learn music, and he did attract the attention of a German-born music teacher who instilled in him a love of the classics, including opera. So it’s not surprising, perhaps, that his ambitions eventually extended in this direction.
Pushing the cultural envelope of those times, Joplin actually composed two operas, the first of which has been lost to us under unfortunate circumstances. His second opera, “Treemonisha,” composed in 1911, almost suffered the same fate. Never fully produced in his brief lifetime, its orchestration was lost and the opera itself was almost forgotten.
Happily, the revival of Joplin’s piano music also inspired musicians to take another look at the opera’s remaining manuscript material. It was re-orchestrated from its surviving piano reduction and has been performed on occasion since then, generally to a good deal of enthusiasm. It was last heard here at the Kennedy Center during the 1976 Bicentennial celebrations.
Since musicologists don’t seem to be in agreement as to Joplin’s intended final form for the work—or, for that matter, to the dramatic value of some of its parts—each staging tends to be a bit different from the last. The version the Washington Savoyards are employing makes use of T. J. Anderson’s re-orchestration and presents Joplin’s opera in a two-act format with a running time of approximately two hours.
Some stiff-necked critics and musicologists have sniffed at the operatic worthiness of “Treemonisha.” To be sure, it’s not a big, complicated work like Verdi’s “Rigoletto” or Puccini’s “Madama Butterfly.” Nor, given its lack of sophisticated support and financial backing, did it ever possess the production advantages or the collaborative opportunities of its closest operatic cousin, Gershwin’s “Porgy and Bess.” (Note: "Porgy" will be in our area twice this spring, via productions of both the Washington National Opera and the Virginia Opera.)
In short, this is a work that doesn't hail from New York or Paris or even New York. A product of America's heartlands, “Treemonisha” can be fairly classed as a folk opera. Its modest plot is sweet and perhaps a little naïve, and may actually have a good deal to do with Joplin’s own musical and religious upbringing. It’s also a moral fable that preaches education as the only escape from ignorance and superstition, and points to Christian forgiveness as the glue of civilization.
Treemonisha, as we (and she) eventually discover, is an orphan adopted as their own by Monisha and her husband Ned when they find the infant girl left under a tree near their home. Prior to the action, we understand that both parents have taken care to give their daughter an education.
Zodzetrick (LC Harden) is up to no good. The
conjure man tries to sell "bags of luck" to
superstitious townfolk.
Now a sophisticated, well read young woman, Treemonisha returns to her Louisiana village (in this production) to help her neighbors learn to read and write. She’s not a snob. But education has taught her to be skeptical of superstition. This causes her to run afoul of the local conjurers (medicine men), particularly the wily Zodzetrick.
Fearful of losing their livelihood, the conjurers kidnap Treemonisha, but she’s saved by her boyfriend, Remus. When the villagers get hold of the conjurers and try to beat them, Treemonisha appeals both to reason and Christian forgiveness, and things end harmoniously—literally and figuratively.
The Savoyards’ evocative, minimalist production employs an artfully suggestive set, a mixed cast, and colorful period costumes. It all works quite well, resulting in a charming musical event that’s a little more like an early Broadway show than a grand opera--albeit a Broadway show with formal vocal recitatives and somewhat deeper characterizations.
Treemonisha's been kidnapped!
Lucy (Shana Powell) delivers the bad news
to the people of the town.
The major soloists were all quite polished during the Sunday matinee performance we attended. Particular hat tips to Marilyn Moore (Monisha), Darryl Winston (Ned, Shana Powell (Lucy), Darin Ellis (Andy), and LC Harden (Zodzetrick). Special kudos to Murvyn T. Cannaday II as a convincing Remus. And an extra round of applause for JoAnna Ford whose sweet soprano voice and self-effacing demeanor brought the spunky Treemonisha to life.
In smaller roles, Randahl Lindgren, John Dellaporta, and Michael Gallo added a nicely villainous comic touch as the other conjurers, and Doug Bowles weighed in as a marvelously Elmer Gantry-esque preacher man, Parson Alltalk.
The chorus, which gets quite a lot of work in this production, was just great with good tone and great enunciation in evidence at nearly all times. They and the rest of the cast turned in a near letter-perfect performance of the opera’s signature closing production number, “A Real Slow Drag,” authentically choreographed by Pauline Grossman whose dance numbers throughout the show had the perfect touch.
The only sours note during Sunday’s performance—literally—occurred in the theater pit. Some of the instrumentalists couldn’t stay together in the overture and often couldn’t agree on the right notes, either. A little more practice might help, something I’m sure music director Marvin Mills will work on this week. Fortunately, once the chorus and soloists were revved up, the combined forces generally sounded a lot better.
“Treemonisha” runs weekends at the Atlas Performing Arts Center through Sunday, March 7, 2010. Joplin fans should get their tickets now. It’s a rare opportunity to see this little gem, and who knows how long we’ll have to wait for another performance.
BTW: Can’t get enough Joplin? Each June, the town that became Joplin’s home base—Sedalia, Missouri—hosts its gala Scott Joplin Festival. Click here for details.
Rating: ** ½ (Two and one-half stars).
Scott Joplin’s “Treemonisha” presented by the Washington Savoyards at the Atlas Performing Arts Center, 1333 H St. NE, Washington, DC, weekends through March 7.
Tickets and information: $15-40. Call 202-399-7993 or visit the Savoyards website here.
Also: Don’t forget—“Treemonisha” is part of the ongoing Intersections New American Arts Festival at the Atlas. Each weekend is booked solid with both free and ticketed events and workshops. For details and tickets (if you need them), click on the festival website link here.
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