OPERA
Song of Protest for the New Century
Iain Bell’s “Stonewall” from NYCO is needed listening
BY ELI JACOBSON
Iain Bell’s “Stonewall” is New
York City Opera’s 36th world
premiere commission — and
it’s a winner. This is not City
Opera’s fi rst foray into 20th century
gay history — in 1995 it presented
the New York premiere of “Harvey
Milk” (music by Stewart Wallace,
libretto by Michael Korie). Its good
intentions met with respectful
critical indifference and then faded
away. A similar fate befell Anthony
Davis’ “X, The Life and Times of
Malcolm X” which depicted 20th
century civil rights history.
“Stonewall,” composed to a taut
theatrical libretto by Mark Campbell,
is not mired in reverence or
historical literalism but brims
with theatrical and musical vitality.
Mark Campbell’s libretto presents
composite fi ctional characters
(based on real people Campbell
has known) that represent the
full spectrum of the LGBTQ community.
The fi rst act introduces
each protagonist with a monologue
or short scene that reveals their
background and history, including
the indignities they have suffered
or are suffering at the hands
of society. On that hot Friday night
of June 27, 1969, each one wants
to forget their troubles and dance
downtown with their community.
Their lives converge with each other’s
and with history.
What is interesting about the
Stonewall depicted here is that
the gay male, lesbian, transvestite,
and transgender communities
of all ages and colors socialize
together easily and joyously in the
same space. Were there fewer racial
and gender divisions back then
in the community? Also, the Internet
does not exist — so LGBTQ
folks have to connect in safe spaces
person to person. No anonymous
cyber-cruising.
The fun and games abruptly end
in the extended Act II, which depicts
the NYPD bust of the Stonewall
Inn. A defi ant lesbian Maggie
turns on the cops shouting, “No,
just NO!” and is beaten. The crowd
outside the Stonewall Inn reacts
Lisa Chavez (center, facing forward) and the cast of Iain Bell’s “Stonewall,” commissioned and produced
by New York City Opera.
Jordan Weatherston Pitts (center) in “Stonewall.”
violently to police brutality. The patrons
inside reach their breaking
point and strike back against the
cops. Soon the cops fi nd themselves
outnumbered as an angry mass
protest takes over the West Village.
Act III is an epilogue depicting the
morning after the riot, where all the
characters greet an uncertain new
morning with hope and a sense
that there is “Much to be done” —
a new future dawns for the LGBTQ
community. All this accomplished
in less than 90 minutes.
British composer Bell’s tonal
music is an active, not passive,
participant in the drama. It doesn’t
pulsate in the background like a
fi lm score but gives specifi c emotional
voice to the drama through
the singers and orchestra. It is
doesn’t describe or comment on
the story — it embodies the story.
The Stonewall riot scene starts as
SARAH SHATZ
SARAH SHATZ
a series of disjointed individual
confrontations while the orchestra
builds up an atmosphere of unease
and mounting anxiety. A pulsing
beat is tossed back and forth by the
oppressed Stonewall patrons and
the crowd outside, which builds
into a crescendo. Individual voices
combine, becoming an ensemble
of defi ance and self-empowerment
that leads to an explosive climax.
The epilogue has searching lyrical
harmonies as each protagonist
ponders what just happened and
where they will go from here. Bell
also manages to write two authentically
catchy ‘60s Motown-style pop
tunes, “Today’s the Day” and “Better
Days Ahead” (recorded by the
incomparable Darlene Love), which
the cast dances and lip-synchs to
in Act II.
A vibrantly committed cast bring
strong individual profi les to each
character while Leonard Foglia’s
fl uid and cinematic production
never lets the action pause for a
moment as the story hurtles toward
its historical crisis. Maggie,
whose defi ance sparks the riot,
is played warmly with dignity by
mezzo-soprano Lisa Chavez. Andrew
Bidlack’s bright keen tenor
brings youth, vulnerability, and a
hopeful quality to Andy, a homeless
teenage hustler from Buffalo
kicked out by his parents for being
gay. Soulful tenor Jordan Weatherston
Pitts introduces us to Renata,
a glamorous drag queen by night,
shy queer black youth Maynard
by day. Trans mezzo Liz Bouk portrays
trans woman Sarah, who is
celebrating her fi rst year living as
a woman. Jessica Fishenfeld is
bubbly lesbian Leah, who survived
conversion therapy in a mental institution
and isn’t going back into
the closet. Brian James Myer sensitively
portrays Carlos, a teacher
in a Catholic school fi red for being
gay. Their antagonists are mob bar
owner Sal (sung by gritty baritone
Michael Corvino), muscular gayfor
pay blackmailer Troy (bassbaritone
Joseph Charles Beutel),
and NYPD deputy inspector Larry
(powerfully sung by spinto tenor
Marc Heller). Caught in between
is closeted married man Edward
(baritone Justin Ryan). Carolyn
Kuan and her orchestra fi nd life in
the smallest detail and build the
music to shattering climaxes.
The saying goes “If you don’t
learn from history, you are doomed
to repeat it.” Twenty-fi rst century
America has forgotten its history
and seems eager to repeat past
wrongs and inequalities. “Stonewall”
depicts not a divided but a
united queer community that don’t
just complain about injustice after
reading articles on their iPhone or
online. They came together as a
physical body in a spirit of united
protest to speak truth to power in
one combined voice. America today
needs to hear the voices and
the songs of that spirit of protest.
I hope “Stonewall” the opera keeps
on singing that story for decades to
come.
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