Reviewed by Judy Richter
Lucky is the ensemble musician
who has known a moment when the music and performers become one, transcending
themselves and the markings on a sheet of paper. The members of the Lazara
Quartet have known such ecstatic moments and constantly strive to achieve them
in "Opus,"
a fascinating 2006 play written by Michael Hollinger and presented by TheatreWorks. In the process, however, they
also insert their frailties and foibles, resulting in more than a few fractious
moments in rehearsal.
Hollinger
weaves their story into a fascinating blend of characters who share one goal
but don't always agree on how to achieve it. The plot centers on a crucial
period when the string quartet has one week to prepare for a televised
performance of Beethoven's challenging Opus 131 at the White House but finds itself in search of a new
member. The three original members have fired Dorian (Mark Anderson Phillips), their brilliant but
increasingly erratic viola player. They replace him with young Grace (Jennifer
Le Blanc), who
also is quite gifted without the neurotic behavior.
As
the musicians adjust to the new configuration and the group's first female
member, Hollinger goes back and forth in time to convey the back story of the
original foursome. Each of the performers also steps forward to deliver
monologues describing their feelings about playing great music, being in a
string quartet and getting along with one another.
Director
Meredith McDonough has assembled an excellent ensemble cast. Phillips embodies Dorian's
complex personality, and Le Blanc skillfully develops Grace from tentative to
more assured and assertive. Richard Frederick is fine as the fussy Elliot,
first violinist and Dorian's former lover. Jackson Davis finds low-key humor in Alan, the
second violinist whose philandering has cost him his marriage. Kevin Rolston
as Carl, the
cellist, provides musical and no-nonsense grounding for the group even as he
faces the challenges of a family and cancer.
The
artistic team facilitates the action of this 100-minute work, performed without
intermission. Erik Flatmo's set easily becomes each character's apartment and
other rooms with a few switches of artwork and furniture. Lighting by Chris
Studley facilitates
these changes. Character-defining costumes are by Jill Bowers. Kris Yenney served as quartet advisor,
presumably teaching the actors how to look believable as they imitate the
motions of real string players. Kudos to sound designer Cliff Caruthers, who coordinates the action with
music recorded by the Vertigo String Quartet.
Part
of the pleasure of "Opus," in addition to the plot and characters, is
the way Hollinger develops them like a musical composition with its varied
tempi, dynamics and combinations. Bravo.
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