This was a fantastic evening in the theatre and the work and composer a revelation. I had heard of the composer but this was the first time hearing his music. It was both powerful and accessible, being melodically and harmonically interesting and, I thought, moving towards a very distinctive ‘voice’ by the composer. I really did have a sense of hearing a work by someone who will go no to create a range of other equally effective operas as there was a sense of natural theatrical ability in the style of the music, the dramatic structure, the way the audience was constantly involved in what was going on…
As I listened I kept on hearing flashes of other American composers - Bernstein, Copland, Jazz, Sondheim but I felt that there was the beginning of a very distinct and unique voice, although I am not sure if that has been completely achieved yet - but I probably should hear the work again and some of his other compositions.
The single set was starkly and dramatically effective with two large screens which were used very effectively, not least in the opening sequence of Sister Prejean’s journey to the prison, showing how film could be very well incorporated into a production without seeming over-complicated or too flashy. The large metal structure that also acted as stairs or a looming framework was another high-quality and effective piece of design. It struck the right moods and its massive impenetrability was an effective metaphor for prison. At times the chorus spilled out into the audience, most effectively in the parole hearing scene.
Andrea Melath as Prejean was superb; a wonderfully passionate and committed performance, as well sung as acted and she met the varied vocal demands of the role very well - an d her final solo of the hymn that had provided a musical link throughout the work was very powerful indeed - and ending the work like this, quietly and thoughtfully, was a dramatic masterstroke. It also struck me that the libretto (by Terence McNally) had a superb balance between moments that allowed for lyrical outpouring while elsewhere propelling the drama forward so that there were never any dramatic longeurs where one felt that the music was merely static. Rather, there was always this forward dramatic propulsion which was first-rate and made the experience theatrically gripping and involving.
I very much liked the idea of having the two young people (whose killing in the Prologue, on film, made an excellent and chilling start) a constant presence on stage as two ghost-like, bloodstained figures. This was never a distraction (which if one simply read about one could think that it would be), but rather provided a constant reminder of why we were where we were.
So, a great theatrical evening - and it is that aspect that was the most exciting part of the whole experience. As suggested above, I had the sense of seeing work by someone who had a natural mastery of the stage and the ability to write powerful and dramatically effective and involving music. He was able to communicate to the audience and that was truly exciting to experience.