Twenty-two-year-old Jesse Smith first encountered Mozart’s opera Don Giovanni in the pop culture manner many of us do: in the 1984 movie Amadeus. His reaction was to create a musical based on Lorenzo Da Ponte’s libretto and inspired by the music of one of opera’s greatest composers — not something many of us would dare attempt.
Lindsey Hedberg and Danny Kam in "Don Giovanni." Photo by Brandon Chapman.
Based on legendary lecher Don Juan, the plot of both Mozart’s opera and Smith’s musical details a day’s worth of amorous exploits — none of which goes right. It’s a goldmine of dramatic possibilities. Surprised in mid rape attempt in the home of noblewoman Donna Anna, our anti-hero, Don Giovanni, escapes by stabbing her father to death and fleeing. Don Giovanni and his faithful servant, Leporello, encounter another Donna, this one Giovanni’s sort-of-wife Elvira (think impulsive Vegas-style wedding) and a pair of almost-married peasants. Don Giovanni romances ex-bride Donna Elvira and bride-to-be Zerlina, both without success. When Donna Anna, her fiance, and her risen-from-the-dead dad come after Don Giovanni, he’s faced with a crucial question: Will he repent his dissolute ways … or not?
The cast of Don Giovanni, A New Musical gave solid singing performances across the board, guided by director Sara Porkalob. Danny Kam (Don Giovanni) had microphone issues early on, which fortunately resolved themselves to allow for a full throated performance. Heather Ruiz was a tragic and appealing Donna Anna, while Lindsey Hedberg deftly prevented her Donna Elvira from devolving into a shrew. Markus Polendey ably attacked the vocal challenges of Don Ottavio, while Jeremy Adams’ take on Masetto was a departure from the character’s usual portrayal as a none-too-bright boor. The chorus was in good voice and highly cohesive, though who they were supposed to be was puzzling. The fight scenes were convincing, thanks to the awesomely named fight choreographer, Adam Drinkwater.
The musicians offered a polished performance of the catchy score. Doing quintuple duty, Smith not only gets credit for book, music and lyrics, but also musical direction and piano. The score isn’t burdened by obvious or clumsy musical references to the original opera. In fact, the only immediately discernible allusion (besides the final scene, a fully restaged pop opera version of Mozart’s original) is found in Don Ottavio’s solo, based on the luminous aria “Dalla sua pace.”
Smith stays true to Da Ponte’s libretto, with a few inexplicable exceptions; nearly all of them found in the characters’ motivations, which have been tinkered to uncertain effect. The unlikely group of conspirators and enemies assembled by Da Pointe fit like the pieces of a puzzle. The changes made by Smith seem to be an attempt to give certain apparently superficial characters (particularly peasant couple Masetto and Zerlina) a more modern psychology. The result threw off their interactions both with each other and the rest of the characters, however. Though Mozart’s take on Don Giovanni fell under the category of opera buffa (something like today’s dark comedies), Smith’s Don Giovanni is played dead serious by all but the very amusing Joe Clark (Leporello), with rarely a wink or nod to lighten the melodrama.
A few logistical questions arose from the text, such as “Why, if the setting is Spain, did Smith throw in the occasional Italian word or phrase from the original libretto?” and “In what era is the action taking place? Modern day? Mozart’s late 18th century? The libretto’s original setting of the early 17th century?” and occasionally “Where is this scene taking place? Inside Don G’s house? The street? A park/graveyard?” Though Joshua Tillman’s highly mobile and dramatically flexible set aided the production in moving rapidly from place to place, there were still moments of confusion.
Don Giovanni is the inaugural production of Seattle Musical Theatre’s Second Season, a new series of original works. Seattle needs more of these invigorating new productions.
Don Giovanni, A New Musical, is on stage through Jan. 23 at Seattle Musical Theatre. Visit www.seattlemusicaltheatre.org for more information.
Katherine Luck
