THE VIRGINIAN-PILOT
Copyright (c) 1994, Landmark Communications, Inc.
DATE: Thursday, December 22, 1994 TAG: 9412200163
SECTION: NORFOLK COMPASS PAGE: 8 EDITION: FINAL
TYPE: Theater Review
SOURCE: Montague Gammon III
LENGTH: Medium: 73 lines
The recent production of ``Amahl and the Night Visitors'' suggests that the Governor's School for the Arts plans to mime Christmas tradition with annual presentations of this hardy perennial of contemporary opera.
If this was an inaugural effort, then the Vocal Department of the school may be on to something worthwhile. Any number of talented young singers got important and reassuring experience performing in front of a receptive and friendly audience.
Choosing shows with at least half an eye toward box office appeal is not without practical merit in this time of reduced funding, though one can only reap so much of a harvest from a theater that seats 100 people. Perhaps the school is considering a touring show next year.
The material was well chosen to challenge but not strain the students' voices, and the sentimental story of the poor crippled shepherd boy miraculously cured by his encounter with the Three Wise Men guaranteed popular appeal and a favorable reception.
One can't speculate whether the local students who attended special daytime shows came with the same eagerness as the adult audiences.
The fact that ``Amahl'' was the first opera written specifically for television might have given the work enhanced validity for today's teens. It could not have escaped the notice of even a disinterested adolescent that the voices filling the small Magnet School Theater were coming from people his, or her, own age.
Visiting artist Alan Fischer, director of the production, was eager to talk about the great strides made by the students. The real success of any such program lies there, and the standing ovation afforded Friday night was really secondary to the satisfaction the students found themselves.
The evening began with a half-hour concert of Christmas carols by a chorus of some 30 students. Not only was the singing enjoyable to hear, with some strong roles, but every piece was marked by absolute clarity of diction.
The same may be said of the opera itself. These were impressive high school singers.
If ``Amahl'' does become a tradition, one could suggest that next year more account be taken of the greater part of the audience who sit on the left and right side of the stage. This production focused all its efforts on the relative few who were seated in the center section.
One wondered how much interest a viewer seated on one side or the other found on those precise lines of choristers and cast members stretching from right to left across the stage, or how many could not see the singers' faces.
Since a premise of the first scene is that Amahl has seen the Star of Bethlehem and that his mother refuses to believe his description of this celestial wonder, one also suggests that she not come outside their home to call him for dinner. Once outside, how could she have missed the Star?
Fischer cast as many as four students in some roles, so even if a critical evaluation were fair it would be incomplete. Erin Smith played Amahl Friday night, with an appropriate sense of youthful energy. Sharing the role were Holley Ewell, who soloed in the carols, Adrian LoMonaco and Megan Ryan.
Rachel Carter took the role of Amahl's mother last Friday. Also cast in that part were Andrea More, Mia Overton and Holly Schwartz. Overton stood out in the front row of the carollers for her unflagging, absolutely radiant smile. She either truly loved the music, or the songs' sentiments, or both.
Valerie Hart, a member of the opera chorus, was a featured soloist in the carols.
King Kaspar was played Friday by Quincy Brown, who alternated the part with Erich Simo. The other kings were Jarrett Boyd and Jason Boothe. Their page was played by Mickey Eaddy.
Three dancers were also featured. Friday's trio was Kathleen Moore, Denisa Tabb and Tonya Artis. Cecilia Cain was the fourth member of that troupe. by CNB