Reviewed byMarie J. Kilker
A World Premiere, “Little Nemo in Slumberland”
had two performances, each with two different young casts of stars, for two real
days creating a fictional two days and nights. Fine music and clever lyrics
created a double treat on their own butdoubled again with the addition of
spectacular visual presentation to themusical one. All were commissioned by
Sarasota Youth Opera and the visualscreated by the University of Kentucky and
Fenix Scenic LLC of Lexington with special cooperation from local production
people at Asolo RepertoryTheatre. Not only were Winsor McCay’s
history-making comics reproduced or blended traditionally into
Michael Schweikardt’s scenery but 36 projectors produced his and assistant
David Bengali’s entire atmosphere ofNemo’s real bedroom and a wonderous
Slumberland with its various shades of darkness as well as
luminosity supplied by Ken Yunker. Add Howard Tsvi Kaplan’s fantastic costumes
with AnneFord-Coates’ hair and make-up designs (for everything from elegant royalty
to liveried footmen to ripe fruits) and the effect was transport to another
world. Both a real and fairy tale one, whimsical and serious.
(Whimsy’s an endangered species these days, but “Little Nemo” proves that with
the right blend-in of reality, it can work and be worthy of preserving.)
The story is simple. InNemo’s sleep, Night, its
King Morpheus and Princess, and entire realm of Slumberland are threatened
byEmperor Sol and his Daylight forces. (All these main characters are
Nemo’s dream versions of neighbors. They include the rascal Philip, in dream
Nemo’s opponent Flip, rival for the Princess’ affections.) From the time Nemo’s
bed leaves behind only the huge Moon and flies on legs to Morpheus’
kingdom, Flip and his aunt the Guardian of the Dawn try to destroy Slumberland
by preventing Nemo,the Princess, and helpful Dr. Pill going from the Moon back
into the Palace orby making everyone wake up. The beauty of the path
through the Cave of Glass ruled by gorgeous Crystalette with her glistening
attendants belies its danger. (A high note sung by the Princess causes
fatal breakage.) Dr. Pill must come to the rescue by making Nemo
grow tall when Giants block Slumberland’s entrance. Hesoon supplies a huge
cannon that shoots Princess and companions over the city walls. By then, the
Guardian of the Dawn begins to project some light and Nemowakes. Act II brings
him readily to bed and sleep, where he confronts the crisis. Emperor Sol wants
to take over 24 hours a day. As Flip gets the whole palace to turn upside down
and summons his aunt to bring in daylight that the Palace Guards can’t
completely curtain off, Nemo saves the night by neutralizing Flip. He proposes
and gets the compromise of an equal division of time for each ruler,
brings in lawyers who draw up the contract, and gets word from the Princess that
he can dream so as to visit her any time he wants to. As Moon and inhabitants
sail offabove Nemo’s bedroom, the concluding music maintains to the last note
the opera’s charm.
“Charming” is the word that best describes both
the opera and its premier production. The day before I attended the second
performance, I saw the filmed live-from-the-Met modern “The Tempest” with
lyrics I thought sing-songey when not forced and with very little Shakespearian
text. No such problem with librettist J. D.McClatchy’s brilliant blend of
poetry and prose. Set just right to D. A. Hagen’s modern score, the text and the
nicely enunciating singers came over as natural, easy to
follow even without reference to Benjamin D. Plocher’s fine surtitles. Finally,
what could have been a logistical nightmare was instead a smooth
operation employing 100 singing actors and chorus from five ensembles, an
orchestra of 13, and all the previously mentioned technical staff. Only
the adults in the cast acted in both performances: a beautiful Chelsea
Basier as Guardianof the Dawn; Kyle Guglielmo as the curative Dr. Pill;
dignified Jeffrey Beruanas Morpheus. I much enjoyed the competent,
spontaneous-seeming Nemo of Katherine Powell (Pablo Gonzalez previously); Natalie
Almeter’s mischievous Flip (Sophia Masterson earlier); K. C. Herbert’s fetching
Princess (A.Fernandez earlier but Luminella later); Skyler
Stahlmann’s impressive Chrystalette and the Stars of Monica Gonzalex and
Rachel Querreveld. It seemed a shame that the Cave inhabitant
Gummerina (Kelly Hatton, and predecessor Devin Bradbury) shattered.
I wish I had seen the previous performers and entire showing on the day before
those I viewed so I’d have two great memories, of two hours each. I
wouldn’t hesitate to attend a return or another production of “LittleNemo in
Slumberland” and recommend it to any age of opera or musical comedy
fan or lover of classic comics.
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