Abduction from the Seraglio

Reviewed by Vanessa Cate
Pacific Opera Project
Closed

When I was seventeen years old I made a solemn vow to myself that I would never listen to any of Mozart’s music indoors because it deserved to be enjoyed solely beneath the splendor of the sky. How lovely, then, to enjoy this 1782 opera in the newly renovated Ford Amphitheatre. 

When one thinks of opera, one imagines a very classical evening, filled with 18^th century gowns and dusty wigs. But in Abduction from the Seraglio, a revival of its 2015 success, Pacific Opera Project transports us across space to another time — supposedly where no opera company has gone before.

Mozart was young — just 25 — when he secured the commission to create this Opera Singspiel for performance in Vienna. Of course, Mozart is Mozart, but there is no denying that Abduction from the Seraglio (or Die Entführung aus dem Serail) is more light-hearted and, well, fluffier than some of his later works. It met with great acclaim at the time, but for modern audiences, its lack of any real character development and deep emotional exploration, as well as its rather convenient ending, can make it seem a bit cheesy and, well, boring.

To take a full three-act opera by Wolfgang Amadeus Mozart, pair it down and alter it significantly in order to place it within the world of Star Trek is audacious. But part of P.O.P.’s mission is to bring innovative and entertaining opera to modern audiences, and Star Trek, which is celebrating its 50^th anniversary this year, is a perfect fit, and brings some much needed spice to the mix. So much so that I say – beam me up, Scotty!

Yes, the setting is different from what Mozart could have imagined (His original Belmonte and Pedrillo invaded a Turkish harem rather than a Klingon encampment in order to steal back their women.). Yes, the words are heavily altered, and Maggie Green’s and Vanessa Stewart’s costumes and uncredited scenic design put us quite successfully into Gene Roddenberry’s land of science fiction. But at the heart of the show is music written centuries ago.

No longer Kirk, Captain James T. Belmonte (played by Brian Cheney) wants to rescue his lover, Lieutenant Constanza (Shawnette Sulker, reminiscent of Uhura) from the clutches of the Klingons, who have been abducting a collection of women from planets across the galaxy. Constanza is Chancellor Selim’s (Greg Lawrence) newest prize, but she refuses to love him, going so far as to say she would rather die than be his love slave.

Meanwhile, the Chancellor’s greasy second-in-command, Osmin (Phil Meyer), keeps Blondie — a green-skinned Orion slave girl — captive in his quarters. But the pointy-eared Mr. Pedrillo (Robert Norman) develops feelings for her, and struggles with the implications of these emotions. Can he be a real Vulcan if he can feel love?

Listen: As a life-long Trekker as well as an avid theatre enthusiast, I am the target audience for this show, which was fun and charming. Overall, however, both the opera and the science fiction homage were too watered down to remain fully buoyant. Josh Shaw’s direction lacked comedic finesse, dramatic poignancy, and true commitment to the material, and relied too heavily on repeated juvenile jokes.

Cheney clearly enjoyed going full Shatner in his portrayal of Captain Belmonte. His performance in that regard was pretty spot on, but in the end it was a one trick pony, which winked and nudged a little too heavily at the audience.

With greater passion and commitment for the world it created, Abduction from the Seraglio could have really soared. Instead, it was merely easy to digest, providing Trek fans and newcomers to opera an easy way to get started, which is admirable. And despite being lost among the shtick, the vocal performances were lovely and impressive across the board, and there were several moments to make any true Star Trek fan’s heart light up like a child.

Pacific Opera Project at the Ford Amphitheatre, 2580 Cahuenga Blvd. E., Hollywood, CA 90068; Closed.; https://www.pacificoperaproject.com/