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Kansas City's Online Journal of the Performing Arts

The Friday production of Charlotte's Web: the Family Opera at Central United Methodist Church was well attended, but it was not by any means a typical night at the opera: no pretense, no sequined dresses, and no cocktails in the lobby. There was not even a set in place. What was seemingly missing, however, was not missed: the focus was on the music, the mission, and that pig.

The Kansas City Metro Opera was founded seven years ago, and Lauren Steinel, the group’s Marketing Director, described this volunteer organization to an audience of about 100. The gist of the organization’s mission is: “to create rehearsal and performance opportunities for Kansas City area high school students, college students, and semi-professional singers, instrumentalists, and conductors.” To accomplish this, KCMO focuses on family-friendly operas and operettas.

The group presents concert productions rather than fully staged operas; the emphasis, then, is on character development, accurate and expressive dialogue, and solo and ensemble singing. While the participants’ ages range widely, many are high school students and recent college graduates, and their biographies read impressively, demonstrating that through KCMO, these young performers stack up acting and singing experience alongside more seasoned performers.

The arrival of the boisterous cast, working their way up the church’s center aisle, marked the start of Charlotte’s Web. The tone was set with a rowdy entrance, and the audience seemed willing to play along. Although only a few props were in play, a projector screen was situated up front with images that helped paint scenes and dramatic themes. There was a rendering of a farmhouse and the barn itself, but more importantly was the changing image of Charlotte’s web. As the barnyard animals got to know Wilbur, their new resident, various descriptors of the pig were scripted into the intricate web design. Charlotte worked her spinning magic to create one modifier after another for her unlikely friend: “Some Pig” gave way to “Terrific Pig,” to “Radiant Pig,” and finally to “Humble Pig.”

The evening was narrated by Roberta Solomon, who was a dramatic force at the podium. Her rooster crow practically steals the show (and the audience got it more than once, since that was one way to mark the passing of time in the narrative, something scene changes would make obvious in a fully staged production).

Edgar Palacios (a recent UMKC graduate and Business Director of KCMO) played Wilbur. He struggled some in his first number, “Eating,” but showed off a proficient voice that simply was not even across its range. Palacios settled in, and in his first duet with Charlotte (Amanda Palacios), “Who Says We Can’t Be Friends,” he was more at ease. The number’s clear message was difference, tolerance, and the compromises made for the sake of friendship. By the time Palacios sang “Freedom Now,” he demonstrated the true depth of his well-developed character: here was an effective balance of innocence and whimsy alongside the pig’s new sense of reality check. Palacios’ full range and control were finally revealed, and the chorus’ solid performance in this number (as they root on this crafty pig, running up and down the church aisles) reflected what must have been intense rehearsal standards.

Erin Leigh Miller was smartly cast as Fern. Miller’s voice is bright and focused. In “Mama, You Don’t Understand Me,” Fern plaintively explains her affinity for this “terrific pig” and her lyrical pleading is convincing via a versatile, animated voice. “Don’t,” Miller’s duet with Lori Jackson (playing Avery), was sharp and swift, both singing with crystal-clear diction as they listed the things grown-ups advise young kids against doing.

Dayna Kelly put a creative spin on Lurvy, Zuckerman’s hired hand. The Goose (Teresa Jackson) played up a sharp, nasal tone for effect. Penny Citro’s warm mezzo made her the perfect matronly Martha Arable. Taylor Pickering, a high school junior planning a career in music, played the Sheep: her singing and speaking voice projected admirably. Her sidekick, the Lamb, was played by Michaela Speck, who cleverly brought to the character a sort of discontented adolescent vibe; the forward tone of Speck’s soprano was lovely, but she was drowned out in the ensemble number “Nice to Meet You.” Lauren Onsrud, another UMKC graduate, played Templeton the Rat with an endearing abrasiveness. After having seen Onsrud in the Conservatory production of Hänsel und Gretel, it was a treat to see another side of her—one that revealed even more dramatic depth. Her vigorous acting and strong voice made her a stand-out.

Amanda Palacios played the famous spider with an edgy straight tone that complemented Edgar Palacios’ rounder tone. Charlotte’s “Spinning Song” was a treat (partly because of the rat/owl/bat trio behind her, shining with charming stage presence that exuded all the way to the back of the church). Charlotte’s “You’re You” allowed Palacios to further explore her higher range and resonant tone.

Drew Holcomb (Homer Zuckerman) managed to switch from a casual, drippy drawl of his spoken dialogue to a smooth, rich timbre for the song “Summer.” Unfortunately, he drowned out the softer voice of Gina Posladek (Edith). The chorus joined these two for what was the highlight of the Act one: the sound was full and balanced (although the ending consonants could be made more obvious); here, Palacios adeptly handled his more melodically complex solo interjections. “County Fair” was a bit disjointed overall, with muffled chorus entrances and solos that were muddled within competing melodic lines. Throughout, accompanist Coleen Dieker was skillful and sensitive, but the piano—even with lid closed—overpowered some of the young voices.

One wishes that at least the dialogue might have been memorized to allow the actors to further develop movement and stage presence. For example, Templeton’s monologue about carousing at the fair would have been more dramatically effective if no binder were disabling her gestures. Notably, both Miller (Fern) and Amanda Palacios (Charlotte) managed to be more liberated from their scripts throughout the evening. Additionally, the chorus might appear more engaged while seated behind the action. At times, their apparent disinterest in what is unfolding in front of them is actually a distraction, and their more active participation (even in the form of appropriate, timed facial expressions) could really be an effective “layer” of dramatic action.

One theme of E.B. White’s classic story is not unlike the mission of the Kansas City Metro Opera: to communicate with and to learn from one another. The lessons embedded in the music and dialogue are valuable ones, and this production allowed the performers and audience to explore topics of friendship (and how friendship inspires us); of love and loss; and, of the enduring legacy of a friend. At the risk of sounding like one of those pesky grown-ups Fern and Avery sang about, don’t miss the opportunity to support this worthwhile organization, and plan to attend next year’s productions, The Gondoliers (April 2011) and The Merry Widow (October 2011).

REVIEW:
Kansas City Metro Opera
Charlotte’s Web: the Family Opera
Friday, October 22 at 7:30 p.m. (reviewed)
Central United Methodist Church, 51^st and Oak, Kansas City, MO
Saturday, October 23 at 8 p.m. and Sunday October 24 at 4 p.m.
Congregation Kol Ami, 75^th and Belinder, Prairie Village, KS
For more information call 816-361-9658 or visit www.kcmetroopera.com.

By Sarah Tyrrell

Opera, Vocal and Classical Contributor

Since 2004, Dr. Sarah Tyrrell has been part of the Musicology faculty at the UMKC Conservatory of Music. In 2003, she completed doctoral work at the University of Kansas and also holds degrees in music history and voice performance from the New England Conservatory of Music and Kansas State University. At UMKC, Sarah teaches undergraduate and graduate classes in music history and world music, as well as graduate seminars on American and Latin American musics. Sarah has presented her research locally and nationally (her research specialty is the art music of Brazil) and actively guest lectures about town on Brazilian popular subjects such as samba and bossa nova. Her articles and reviews have appeared in Musical Quarterly, Latin American Research Review, and Latin American Perspectives.

Sarah is also active in the Kansas City choral music scene: she is the Artistic Director of the Metropolitan Chorale of Kansas City and also sings soprano with the group. This 60-voice ensemble presents four concerts each year and recently completed a performance tour of Brazil.