William Clay Thompson as Méphistophélès (background) and Brittany Logan as Marguerite. Photo courtesy of Wolf Trap Opera.
During the height of the inferno of a blazing summer, Wolf Trap Opera took its audiences “to hell and back” with its unusual production of “Faust.” Charles Gounod’s opera, based on the literary masterpiece by Goethe, presents the familiar story of the scholar who sells his soul to the devil in order to gain love, youth, and perhaps more. Faust falls in love with the beautiful and pure Marguerite, an innocent, church-going girl whose life he proceeds—wittingly and unwittingly—to destroy. The delightful twist to this production is the setting. No longer set in medieval or even Enlightenment Germany, the story plays out in the Cajun society of 1800s Louisiana. Opera goers experienced this German story as a French-sung opera in an American, historical setting.
The delightful twist to this production is the setting. No longer set in medieval or even Enlightenment Germany, the story plays out in the Cajun society of 1800s Louisiana…characters were…acted and sung beautifully…
Another interesting difference is that Faust actor Eric Taylor’s mannerisms and persona do not have the style of a scholar, but rather that of an everyman. His performance demonstrates that not just academics and thinkers, but all humans, have desires which can open them up for temptation.
Musically, the jewel of this opera is, of course, the Jewel Song. This version, directed to perfection by Alison Moritz, does not disappoint. “O Dieu! Quen de bijoux!” was sung and emoted beautifully by soprano Brittany Logan. Her performance was outstanding. In this aria, she lifted up a beautiful, golden mirror and blood-red gem necklaces and earrings out of the jewelry chest—the very same red tones as the red gemstone lapel pin Méphistophélès wears.
As Méphistophélès, William Clay Thompson maintained the evil persona and “edginess” we would expect of the Devil while exhibiting a character who was suave and elegant, with his white suits, silver cane, sword, jewels, and somehow oddly enticing arrogance. The devil in a white suit? Let us not forget that in some cultures, white can represent not innocence but death. Bass-baritone Thompson gave us a sparkling “Le veau d’or est toujours debout” (or the “Golden Calf Song.”)
Other characters were also acted and sung beautifully, notably Marguerite’s brother, Valentin, performed by Kyle White and his friend, Siébel, portrayed by Mary Beth Nelson. Mr. White sang “Avant de quitter ces lieux” with his wonderful virtuosic range, as the character was about to take leave of his sister to enter war. Unknowingly, his sister also goes to war—not in the sense of physical combat, but in a “spiritual warfare” sense as she faces God’s adversary and the temptations of desire, making her a parallel to the challenges which confront her lover Faust.
The updates to nineteenth-century Cajun country were particularly striking. The action of hundreds of years ago was moved to a more recognizable time and yet not too close to our present, for an ultra-contemporary setting might make the ultimately medieval story of the devil’s temptation seem strained or forced.
Some more “contemporary” elements include Faust using a typewriter, only to get frustrated as he tears what he is written out and crumples it, adding it to a pile of many others. It is an amusing cliché of writer’s block and a good example how the production used humor in its telling of one of the world’s most famous morality tales.
Costume designer Lynly Saunders receives high praise for helping to evoke the era. Her costumes included 1800s costumes with fans and umbrellas, topped with beautiful hats. Soldiers wore cowboy boots, leather-holstered guns, and somewhat Western-style regalia in order to represent the Louisiana lifestyle.
On the subject of Acadiana, what is Louisiana without Mardi Gras? In a Louisiana version of Walpurgisnacht (in which Méphistophélès attempts to have Faust forget his troubles and his sense of guilt for abandoning Marguerite), the devil comes in Mardi Gras costume—this time, as a classical devil wearing horns.
Lighting designer Colin K. Bill’s work was phenomenal. For instance, as Faust contemplates suicide by poisoning himself, Méphistophélès first appears in Faust’s study and all the lights seen through the town windows shift to an evil, ghoulish red. Scenic designer Lawrence E. Moten III created a town with old-time streets and French Quarter-style buildings with their flower boxes and wrought-iron staircases.
The orchestra was conducted brilliantly by Geoffrey McDonald for not only for accompanying Goethe’s story with Gonoud’s beautiful music, but also evoking dramatic actions musically. During the inevitable sword fight between Faust and Marguerite’s offended brother, the music ramps up as the sword fight escalates in intensity. The music clashed with excitement along with the swords, rounding out an excellent production of Faust by the Wolf Trap Opera.
Running Time: Three hours with a 20-minute intermission.
Note: The French-language opera with English surtitles for the audience to follow along.
“Faust” ran July 21, 23, 27 at 29, 2023 presented by Wolf Trap Opera at The Barns at Wolf Trap, 1635 Trap Road, Vienna, VA 22182. More information and tickets for upcoming events can be found online.
