Tenor Michael Hendrick was awe-inspiring as the half-wit Lennie. He brought the pathetic, gentle giant to life on stage, and presented his struggle honestly and nobly. His clear, pure voice range with guileless pathos, and he appeared to be about 9 feet tall.
OF MICE AND MEN, Utah Opera production; Capitol Theatre, 50 W. 200 South; continues Jan. 18, 20 and 22 at 7:30 p.m.; matinee, Jan. 24, 2 p.m. Reservations through ArtTix outlets or by calling 355-2787.
The German poet Rainer Maria Rilke once wrote: “critical words always come down to more or less happy misunderstandings.” If that is truly the case, it would be wisest to simply call “Of Mice and Men” a powerful and vital work of art and not try to pinpoint the essential qualities of the work as a whole.The opera consisted of several gripping moments of music-drama accentuated by brilliant staging (by Pamela Berlin), natural and committed acting and flawless, expressive singing. While there are only a few hum-able moments, the music intensified Steinbeck’s tragedy in a way that reached the audience on an almost subconscious level.
Tenor Michael Hendrick was awe-inspiring as the half-wit Lennie. He brought the pathetic, gentle giant to life on the stage, and presented his struggle honestly and nobly. His clear, pure voice rang with guileless pathos, and he appeared to be about 9 feet tall.
Bass-baritone Stephen Bryant also gave his character a soul. His relaxed voice gave George a sensitive quality that set him apart from the other ranch hands. He brought out his character’s kindness, especially in the scenes with Lennie. The opera’s most beautiful moment, both musically and dramatically, was the sweet lullaby of the final scene when George describes the farm to Lennie for the last time.
It’s in this final scene that composer/librettist Carlisle Floyd’s gifts for composition and dramatic pacing really shine. In a succinct, five-minute long package, Floyd places all the longings, fear and love of his two protagonists and leaves the audience purged.
As the only woman in the cast, soprano Diane Alexander created a half-villainess, half-tragic heroine. She played the role of Curly’s wife sympathetically, laying bare her unmet needs. In a duet with Lennie, both express their dreams and desires, and it becomes impossible to hate her. Alexander’s rich, full-bodied voice glided effortlessly through the difficult score, and the drama stayed foremost.
As Curly, tenor Michael Myers successfully brought out the ranch owner’s impatience and meanness. It was easy to see why the ranch hands were anxious to be free of men like him. The fight scene in the bunkhouse was expertly choreographed and executed.
Bass-baritone John Davies rounded out the disciplined and well-motivated cast as the tender-hearted, physically challenged ranch hand Candy. His desire to leave the ranch and get a place of his own came alive in the joyful, Copland-esque trio he sings with Lennie and George. His aspirations contributed to the drama’s main thrust, as did all aspects of the production, including Vicki R. Davis’ functional sets.
http://http://www.deseretnews.com/article/674685/Of-Mice-and-Men-is-art-that-is-powerful-vital.html
by Rick Mortensen
Deseret News