Interludes

THE HANGOVER REPORT – New York City Opera’s FALLUJAH by Tobin Stokes makes an impact despite being didactic

• By drediman
• November 22, 2016
• No Comments

Suzan Hanson and LaMarcus Miller in New York City Opera’s production of “Fallujah” at The Duke on 42nd Street

The resuscitated New York City Opera continues to search for its artistic niche with its production of Tobin Stokes’ Fallujah, a new opera that attempts to depict the horrors of war and the potential post-traumatic stress disorder that could result from the experience. Despite its noble intentions, the opera falls just short of doing its subject matter justice, mainly due to Heather Raffo’s didactic libretto, which feels a tad heavy-handed and unfortunately fails to leave much of an impression. However, Mr. Stokes’ eclectic score makes a visceral impact, especially in moments of raw emotion, particularly in the intimate space.

The New York City Opera staging is solid (it’s a co-production with Long Beach Opera). It’s well designed, particularly the lighting and video designs by Dan Weingarten and Hana S. Kim, respectively; their work does a wonderful job of creating a claustrophobic and disorienting mood in the cozy auditorium of The Duke (The Met, this ain’t). The cast is also solid if a bit on the uneven side, with special kudos going out to LaMarcus Miller and Suzan Hanson as the son and mother trying to navigate the minefields of PTSD. Under the baton of Kristof Van Grysperre, the smallish New York City Opera Orchestra played with enthusiasm and sounded robust for its size.

SOMEWHAT RECOMMENDED

FALLUJAH
Opera
New York City Opera at The Duke on 42^nd Street (a co-production with Long Beach Opera)
1 hour, 20 minutes (with no intermission)
Closed