Recent arts coverage:
- Evolutionary biology. Aesthetic determinism. Live action role playing. The Rude Mechs are making a new play again
- Suburban battlefield: Women fight invisible foe in Amie Siegel’s ‘Black Moon’
- In eerie paintings by Ana Fernandez, a house isn’t just a house
More arts coverage | Follow this blog on Twitter @artsinaustin | Read recent arts reviews
Austin360 blogs > Austin Arts: Seeing Things > Archives > 2009 > May > 18
Monday, May 18, 2009
Review: ‘Oceana’
Vortex Theatre lives underwater for the next few weeks. The new musical “Oceana” created by Bonnie Cullum and Content Love Knowles floods the East Austin theatre space through June 6.
Through movement by Cullum, and design, Jason Amato’s lights and Ann Marie Gordon’s, the production does an excellent job of fully embracing another world. The parable-esque musical has worthwhile messages to send: the sea deserves care and protection. But the story unfolding inside the elaborate world gets murky at times.
The young girl (Betsy McCann) sent on a grand tour of the ocean by god Olokun (Gabriel Maldonado). He hopes she will be the one to save the ocean from destruction. She hopes to survive. But she eventually lets go, letting the water and its many spirits in.
Two groups guide the girl: merpeople who catapult through “Oceana’s” sea with the help of aerial equipment and an operatic doo-wop trio, who sometimes offer explanation. A magical seal (Katherine Craft) forges the deepest connection with the girl, but it is unclear why. The seal says the girl once saved her life, but that story-shifting event escaped me, making “Oceana’s” climax confusing.
The girl also meets a series of goddesses. Hindu goddess Lakshmi (Kira Parra) eventually helps the girl discover desires bigger than her individual needs. Parra has one of the show’s best voices. Karina Dominguez as Pele, Hawaiian deity of earth and volcanoes, is another performance standout.
Pele also has more opportunity to grow into a full character. Most of the spirit presences have one significant scene and otherwise perform with the ensemble. Meeting each goddess so briefly robs the figures of time to make the traditions from which they are borne specific or deep.
“Oceana” continues at 8 p.m. Thursdays-Sundays through June 6. Vortex Theater, 2307 Manor Road. $10-$30. www.vortexrep.org.
Clare Croft is an American-Statesman freelance arts critic.
Image: Rachel Martsolf and Jonathan Blackwell as The Mer in ‘Oceana.’ Photo by Tony Spielberg.
Permalink | Comments (0) | Post your comment
Review: Austin Symphony Orchestra’s make Mahler mighty
Austin Symphony Orchestra left the audience — and itself — breathless Friday night after its performance of Gustav Mahler’s ‘Resurrection’ Symphony, the final concert of the orchestra’s subscription series.
Have we ever seen so many musicians on the stage of the Long Center’s Dell Hall? With Mahler’s massive work requiring additional musicians to the orchestra’s line-up and the 110-member Conspirare Symphonic Choir upstage, the musicians, in particular the string sections, spilled out past the proscenium.
This mighty mob of musicians was up to the monumental task Mahler’s emotional — and technical — rollercoaster of a symphony, as was conductor Peter Bay. (Conspirare conductor Craigh Hella Johnson prepared the choir.)
From the opening tremor of the bass lines to the massive chorale finale, Bay kept a tight reign. And the musicians respond with focus and energy.
Mostly importantly, Bay kept the musical integrity of each movement in tact, balancing the first movement’s motion between edgy tensions and soulful emotions while letting the second movement sound ethereal and nostalgic. The scherzo starts with a surprisingly sunny theme that’s then contrasted against bold fanfares before spinning seemingly out of control. But Bay kept Mahler’s musical madness in check while accentuating its complexity.
We’re almost exhausted by Mahler’s mood shifts by the time we get to the massive fifth movement. But it’s in the fifth movment that the whole package arrives and Bay and the musicians delivered it with gusto.
Having the violins well in front of the proscenium in Dell Hall, though, meant they didn’t always project as well and were sometimes overshadowed by the winds and brass. And while soprano Linda Mabbs and mezzo Susan Platts performed nicely, and both had lovely tone, they too perhaps suffered from being past the proscenium and somewhat subdued.
Next season, ASO and Conspirare will collaborate again, this time on Cary Ratcliff’s oratorio ‘Ode to Common Things’ based on the poems by Pablo Neruda. Let’s hear it for such musical partnerships.
