The Chicago Building Stage Ring

Early this year, The Building Stage, a theater company and performance space located in Chicago’s West Loop, undertook a version of The Ring with a rock band performing "original music by Kevin O'Donnel inspired by Wagner's themes". Its tag line was "not an opera - a play that rocks".

Attendees included Sandra & Larry and member Michael Barna from Milwaukee. They shared their thoughts on the production via email:

Hello:

Finally a few minutes to discuss The Ring. Let me preface my remarks by saying that I'm glad we made the trip to Chicago.

As to the play. Building Space is a great little company, and I admire their courage for taking on such a huge project. Did it work? Yes -- mostly. The problem for both Larry and me was Wotan -- Chris Pomery looked the part, but his voice was wrong. One does not put a young tenor in that role. Plus, Pomery suffers from the American problem of trying to be Shakespearean -- it's just not in the blood, and he confuses drama with volume. It's too bad, but if the core is weak, all the bells and whistels around the edges won't make up for it. Was Götterdämmerung the best segment because Wotan was not in it? Probably not entirely, but his absence helped.

Highlight: The Rhinemaidens and Woodbird(s). Fantastic idea and execution. It also points out -- as did the set in general -- that one can put on a great play (or opera, for that matter) without spending a fortune. I rarely mind stage hands taking over roles in plays unless they are supposed to be invisible and are not. I even got used to the stage hands in the Valencia Parsifal we saw recently on film. Here, however, it was mandatory, and they were integrated nicely -- even splitting the anvil was believable -- well, at least sensible. The use of various levels, doors, and imaginative lighting was very good. Also -- the shadow puppets -- good work. Even Friea as a doll demonstrated the size of Fafner and Fasolt. So simple yet effective.

I also liked the cuts (with one exception). I particularly like the decision to eliminate the Norns at the beginning of Götterdämmerung. It makes more dramatic sense to jump right into Siegfried's leaving Brünnhilde and then compress the scenes at Gibbichland. The one lapse was the confrontation between Wotan and Alberich in Siegfried. I believe this is one of two key moments in the entire work -- the other being Siegmund's interchange with Brünnhilde in Walküre which was, unfortunately, reduced. I spoke with Blake Montgomery during the last break, and he said they had kept the Wotan/Alberich segment in until very recently. Siegfried was running too long, and they needed to cut more out. His cutting decisions were based on leaving out any text that explained what had already happened or was about to happen and lengthy dialog between two characters. Well, OK. But, I argued -- and still believe -- that Wotan as licht-Alberich is essential to the Ring -- just as Brünnhilde's coming to realize that love is more powerful than heroism. Tightening the question scene between Wotan and Mime was no great loss. In fact, eliminating almost anything with Wotan in it, was an improvement -- except with Alberich.

Götterdämmerung was genuinely moving, but then it is the most inherently dramatic of the four operas. As the evening wore on, however, I found myself missing the music. It pointed up just how damn important all those snippets are that signal events, personalities, and emotions. I found myself silently humming the passages between the text. This should not be surprising -- after all, it IS (or WAS) an opera. But, I was surprised by just how much I missed things like that rainbow bridge and the "Heil der Sonne" or the opening chords to each opera.

Montgomery's decision to couch the language in Shakepearean terms was also effective (other than for Wotan). I liked the contrast between the "groundlings'" colloquialism set against the more formalistic language of the gods. One did not need a British accent to pull it off. Nick Vidal was very effective as Siegmund/Siegfried because he FELT and conveyed the characters' emotions. The final part of Walküre even made the music in my head sound right.

So, all in all, a good theatrical experience. It won't take place of the opera, but it wasn't intended to. It was an experiment that, generally, worked. However, it made Larry give up mulling over whether or not to purchase the text-only CD that recently came out (German only). From my perspective, that constitutes a success.

OK -- your turn.

Sandra

Hi Sandra,

I'm glad that your trip to Chicago was enjoyable and you found the production to have some merit. I was a bit concerned after viewing the opening weekend's performance and, like you, applaud the company for attempting quite an undertaking. I fully agree with your review.....it worked mostly.

By the end of the evening, I found myself wondering how this would play with another theatre company with perhaps more experienced actors. While I did enjoy the "freshness" of the cast (I did ask Montgomery if any of the cast had seen a Ring or knew of it.....mostly no on both counts) I found that the actors were a bit too "green". Wotan comes to mind especially. His young age wasn't so much the problem for me, but I didn't think he conveyed the weariness and complication of the action as best as he could. And as you mentioned, his vocal delivery was most distracting. I loved your comment about confusing drama with volume. Wonderful!

I did think that the production was very creative though. Loved the birds, and the Rhinemaidens.....great use of the space and the resources to make them swim/fly! And I rather enjoyed the creation of the giants and eventually the dragon. Pretty good for shadow puppets!

The most embarassing moment for me was the Hagen/Alberich scene in Götterdämmerung. The director had painted himself into a corner by casting the same actor for both of those parts. Unfortunately, the jumping on and off the chair was quite silly and distracted from the drama at that point in the story. Could it have been staged differently? Perhaps. Maybe Hagen sleeping in the chair, dreaming, and using his own taped voice for that of Alberich????? Hmmmmm, maybe in the next staging!

The "rock" band left me a bit cold as well. It did add some atmosphere at times, however, some infusion of blood was needed to combat the quasi-meditative, new age-y sound. I would have liked a little variation in instrumental sound. Most of the time it worked, but like you, I was wanting to hear something more but the end of the evening. (The drum solo went on far too long, in my opinion).

Ultimately, I was glad I went to see it. I had originally thought I might see it a second time, but after the first viewing I decided once was enough. Now, if it showed up at the Goodman, then perhaps that might be another story! Who knows? Maybe some other company may tackle it.

Regards,

Michael

Here's a link to the Building Stage's web page with a video of their interpretation:

http://www.buildingstage.com/blog/?cat=14