WASHINGTON — March 6, 2011, — Having had not one, but two successes with last year’s hit Mozart cavalcade, WAM!, the In Series has brought the concept back to the Atlas Performing Arts Center for another round in 2011. It’s called—surprise—WAM2! Like its predecessor, the current edition takes a fanciful look at the music of Wolfgang Amadeus Mozart, hence, WAM, highlighting two of his most popular operas with the assistance of the Washington Ballet Studio Company.

While last year’s show used both popular and obscure selections from Mozart’s works to highlight the story of his life in music and dance, this year’s program presents back-to-back “pocket opera” versions of  the composer’s Don Giovanni and Cosi fan tutte. But, in typical In Series fashion, the audience is treated to fanciful and surprisingly effective contemporary updates of both classic works.

In Series' WAM2!

The first half of the program, which debuted this past weekend, presents an economy-sized version of Don Giovanni that’s re-imagined as a regional TV news and game show, circa the 1980s. With perhaps a catty bow or two to the old “Gary Shandling’s Show,” the audience goes backstage at WAM-TV (get it?), following the antics of game show host Don Giovanni (Don Juan).

Like his legendary namesake, the Don is ready, willing, and able to bed every female, on and off the set, which leads to complications. He accidentally knocks off “The Commodore,” the station’s curmudgeonly owner in pursuit of his daughter Anna, weathergirl Elvira, and script girl, Zerlina. The latter’s fiancé, news anchor Wolf Schnitzel, takes off after the Don in hot pursuit.

Sung in English with an entirely (and fancifully) contemporary script adaptation by Bari Biern, the show is frothy and fun. Even better, the singing was exceptionally good. Alvaro Rodriguez sparkled as the amoral Don, singing and mugging his way through a role that seemed almost tailor-made for his skills. Randa Rouweyha was sparkling, in a huffy, world-weary way, as Elvira, and Tara McCredie was a sprightly Zerlina.

Sean Pflueger was also perfectly cast in the role of Leporello, the Don’s hapless sidekick. In smaller roles, Laura Lewis (Anna) and Richard Potter (“The Commodore) also made the most of their roles, particularly the latter, when he returned as a rather amusing stone guest during the opera’s climactic scene.

The young dancers of the Washington Ballet Studio Company were quite good throughout, keeping the pace moving at an almost hyperkinetic level. Particularly effective was their appearance, during that famous final scene, as a pack of zombies who materialize to guide the Don down under, to his deservedly hellish award.

A real surprise in this first stanza was Mattias Kraemer, spot-on as the obnoxious Wolf Schnitzel. (Take that, CNN!) His comic timing was perfect, and his enunciation, both in his spoken role and during his brief vocals, was exemplary, his voice clear and strong. Perhaps we’ll see a bit more of him in upcoming seasons.

After the intermission, the company returned with yet another irreverent turn on Mozart, this time lampooning Cosi fan tutte (They All Do It). That, of course, is the composer’s perhaps too-popular comedy, wherein two suitors trick their girlfriends into affairs, to prove the point that the ladies can’t be trusted.

The In Series cleverly updates this classic to the 1960s, recasting our heroes Ferrando and “Billy” (Guglielmo) as GIs on leave, and their fiancées, Dorabella and “Fifi” (Fiordiligi) as waitresses at a diner run by old “Alfie” (Don Alfonso), who lays the bet that gets the plot underway.

The Act I cast returns, shuffling roles and singing time, and once again, all seem to be having fun, well, doing it. Alvaro Rodriguez and Sean Pflueger, Giovanni’s two perps, have similar fun in Cosi, particularly when they return disguised as a pair of scuzzy hippies. Laura Lewis and Tara McCredie are our heroes’ singing sisters/fiancées, with Ms. Lewis proving particularly distinctive vocally as Fifi during Friday evening’s opening performance.

As Alfie, Richard Potter was appropriately cranky and world-weary, although his role was substantially reduced in this update. Last but not least, of course, is the wily Despina, sung with charming malevolence by Randa Rouweyha, although again, this very funny role was much reduced in this English adaptation, once again by Bari Biern.

The “orchestra” was in fact, an army of one, the very talented pianist Carlos César Rodriguez, who played every note of the performance. In a particularly nice touch, Mr. Rodriguez performed the music of Cosi, costumed as a particularly over-the-top hippie.

And speaking of hippies, once again a round of applause for the veritable armada of hippies as personified by the very talented Washington Ballet Studio Company. Of particular note—the incredibly professional bubble-gum chewing by several young female dancers, including possibly the biggest bubble this reviewer has ever seen blown in public. We’re not sure if that’s part of this company’s repertoire of dance moves, but it was quite impressive.

And, with regard to the choreography, developed and directed by David Palmer and Septime Weber and others, it was charming, funny, seamless, and organic to both the plot and the concept.

In fact, for the second year in a row, both the In Series and the Washington Ballet seem to be benefiting significantly by combining forces in productions like both WAMs. The singers get to participate in a production that seems grander and bigger, in spite of the company’s modest budget. And, the Washington Ballet’s young studio dancers get a chance to put on a funny, elegant, and highly physical display of their skills before a live, paying audience. It’s a win-win for both companies and the audience as well.

Stars: *** (Three stars.)

WAM2! (Wolfgang Amadeus Mozart), produced by the In Series with The Washington Ballet Studio Company. Performances at the Atlas Performing Arts Center, 1333 H St. NE, Washington DC 20002.

Tickets and information: Call 202-204-7763 or visit the In Series' website.

Read more of Terry's work at “Curtain Up!” in the Communities at the Washington Times.

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