Overheard at Ted Mann Theater
Overheard at Ted Mann Theater
Several weeks before the scheduled dates of Nov. 21-24 for the world premiere of the new chamber version of Dream of the Red Chamber, guest artists began arriving in the Twin Cities. First to arrive were choreographer Zhongmei Li and her three principal dancers from NYC to begin intense rehearsals with local dancers who would be filling out various roles in the Opera. The three dancers from NYC, Johnson Guo (BaoYu), XinYi Zhang (DaiYu), and MiaoTian Sun (BaoChai) quickly renewed their bond with the ten local dancers, drawn from all three local Dance Schools of CAAM Chinese Dance Theater, Phoenix Chinese Dance Academy and Twin Cities Chinese Dance Center, They first met during the workshop in February and became comrades in arms during the November intense rehearsals. The local dancers, all volunteers and shepherded and inspired by Zhongmei who had written individual choreography for each of them, watched out for each other and developed routines for their additional stage-hand duties. They also learned from the three principal dancers. For them, this Opera was more than just a musical presentation, it was a chance to make new friends and build something that ultimately became bigger than themselves.
Second to arrive was Chungliang Al Huang, Taoist in the Opera. His open-hearted all-embracing grandfatherly style soon drew everyone to him, dancers and singers alike. By the end of the run, a singer was overheard saying, ‘I want to be just like Al!’
Composer Bright Sheng arrived a week ahead and was soon immersed in many give and take sessions with stage director David Walsh and conductor Mark Russell Smith. Nothing was too small to be attended to. As with any complex productions, the dress rehearsal was a stressful time. Indeed, so was the preview performance on Nov. 21!
There was a full house audience sitting in the Ted Mann Concert Hall that evening, waiting with palpable excitement and bated breath. The performance promptly began at 7:30 and everyone turned out to be a real pro. The performance proceeded smoothly, and everyone put their hearts into their performances. The reactions from the audience were immediate: they were on their feet as soon as the performance was over. And the excitement continued backstage and at the lobby. Nobody wanted to leave, everyone wanted to talk, and they wanted photos taken with the singers and dancers, and even with the audience: everyone who was interested was invited to be in the photos. Everyone wanted to remember this special evening!
And so it went for the succeeding three nights. While the audiences were different for each evening, the feelings and atmosphere were the same. There was so much joy and excitement in the air. The Chinese/Asian attendees, looking to be comprising of more than 50% of the audience, were obviously proud that a timeless heartbreaking Chinese story was being presented once again on the world stage, this time in an intimate setting. Presenting this Opera, in both the grand (by San Francisco Opera) or the current chamber versions, in English was a deliberate decision by the Chinese Heritage Foundation when it first started out on this project in 2011. This was for the purpose to break down barriers between the Chinese and English-speaking audiences. The Foundation firmly believes that removing barriers and creating common ground for dialogue was an important step in improving U.S./China relations.
In addition to the hard-working singers and dancers who were in front of the audience every night, the back stage crew was equally busy and dedicated to making sure the performances would all run smoothly. Power interruptions were quickly fixed. No one was the wiser!
Matthew Shilvock, General Director of San Francisco Opera, graced us with his presence for the Opening Night performance on Saturday. The entire cast was on high alert and performed brilliantly. They were rewarded by a backstage visit from Matthew, who greeted them with warm words and accolades. Composer Bright Sheng also declared himself satisfied and joined the cast on stage for a bow.
So how would we remember this premiere production run? Obviously we have shown that a grand opera can be presented by medium-sized opera companies or universities on limited budgets. Ingenuity, creativity and commitment would go a long way in overcoming obstacles. In the end, if there is a will, there is a way. In commissioning this chamber version, the Chinese Heritage Foundation has made it possible for many more organizations to present this Opera in way that would, as Bright hopes, move the audience to tears.
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Enjoy these terrific photos by well-known photographer Mark Stanley!