The Tucson Convention Center Music Hall crowd of 1,600 thundered its approval of the two hour and 15 minute work, saving its most enthusiastic applause for tenor Michael Hendrick, who played the lumbering innocent Lennie. There were many great performances last night, chief among them those of Hendrick. Hendrick’s Lennie captured in the fullest sense the childlike innocence of this hulk of a man. In the opening scene, when George tells Lennie that despite the trouble he causes, George will stick by him, Hendrick dances around like a 4-year old with a balloon. When the puppy that Lennie too vigorously strokes dies, Hendrick throws its lifeless corpse to the ground like a spoiled child. And when George tells Lennie at the close to look across the river and see the farm they’ll someday have, Hendrick’s fidgeting feet tell a tale of uncluttered, childlike joy. Vocally, Hendrick was impressive, sporting a big, warm sound from top to bottom, handily projected to the cheap seats.

Evocative music, gripping performances and a story so real you could feel dust in your teeth and a knot in your stomach made Arizona Opera Company’s ”Of Mice and Men” an unqualified knockout.

Composer Carlisle Floyd’s 1970 setting of the John Steinbeck book is the first contemporary work AOC has staged since 1982. The Tucson Convention Center Music Hall crowd of 1,600 thundered its approval of the two hour and 15 minute work, saving its most enthusiastic applause for tenor Michael Hendrick, who played the lumbering innocent Lennie.

The depression-era story centers around George Milton (played by Stephen Bryant) and Lennie Small – two roving ranch hands dreaming of a place of their own. Though close, somehow that dream stays just out of reach.

Though giant in stature, Lennie has the intellect of a small child. He loves to pet soft things. Just one problem. He doesn’t know his strength, and ends up accidentally killing the soft things he craves.

The pair end up working for the fiery-tempered Curley (Dean Anthony), whose overly flirtatious wife (Helen Todd) is on-the-ready to stir up trouble. All Lennie and George have to do its keep their noses clean and save their cash and, with fellow ranch hand Candy (John Davies), they’ll have that little farm of their dreams by month’s end. Unfortunately, Curley’s wife lets Lennie stroke her soft hair. He gets a little carried away, she starts shouting and he accidentally kills her. In the end, George must shoot Lennie to keep him from the hands of the law.

It is not a pretty story. But it is realistically and compellingly told.

Unlike many standard rep operas in which a dramatic moment that takes two minutes in real life is milked into 30-40 minutes of vocal gymnastics, this work has an almost real-time thrust to it. Moreover, Floyd’s scoring tells a fuller story than mere dialogue can. Generally tonal in nature, it is colored and shaded with muted hues that echo the dark shadows that lurk barely below the surface.

Stylistically it pivots between the blue-sky optimism of an Aaron Copland and the darker musical language of Benjamin Britten’s ”Peter Grimes.” There are elements of Stravinsky and Debussy in Floyd’s musical vocabulary as well, superbly crafted to reinforce every nuance of the tale.

Floyd’s writing for Curley’s wife is particularly resourceful. Surreal and slightly removed, it simultaneously underscores her delusions of Hollywood and her sheer dangerousness. There is no question that she is the element of temptation that will ultimately bring the dream crashing down.

There were many great performances last night, chief among them those of Hendrick and Todd. Hendrick’s Lennie captured in the fullest sense the childlike innocence of this hulk of a man. In the opening scene, when George tells Lennie that despite the trouble he causes, George will stick by him, Hendrick dances around like a 4-year-old with a balloon. When the puppy that Lennie too vigorously strokes dies, Hendrick throws its lifeless corpse to the ground like a spoiled child. And when George tells Lennie at the close to look across the river and see the farm they’ll someday have, Hendrick’s fidgeting feet tell a tale of uncluttered, childlike joy. Vocally, Hendrick was impressive, sporting a big, warm sound from top to bottom, handily projected to the cheap seats.

Todd’s portrayal of Curley’s wife proved equally potent. Seductive, catty and painfully frustrated, she cannot help but bring on disaster. Vocally, Todd handled Floyd’s unusual coloratura lines with handy agility, delivering with power, authority and drama throughout.

Worth mentioning as well is the clarity of enunciation nearly every cast member brought to this piece. Though sur-titles were provided, so readily understandable were all except Anthony, that one rarely had to hoist eyes from the action to view them.

Anne Ewers’ stage direction was taut and focused throughout, reinforcing in particular the loneliness of all the characters and the rage that simmers all around. The action was uncluttered, direct and meaningful, which is as good as it gets.

IF YOU GO

What: Arizona Opera’s production of ”Of Mice and Men”

When: Tonight, 7:30 p.m.; Sunday 2 p.m.

Where: TCC Music Hall

Tickets: $17-$67, through all Ticketmaster outlets

http://tucsoncitizen.com/morgue2/2000/02/12/45571-review/

by Daniel Buckley, Citizen Music Critic

The Tucson Citizen