Thaïs

Opera Theatre of St. Louis

During the month of June, St. Louis theatre goers have a rare opportunity to see not one, not two, but three musical theatre pieces all dealing with the intersection of politics, religion and sexual hypocrisy in Western society. In the Opera Theatre production of Puccini's Tosca, the result is a romantic tragedy; in New Line Theatre's presentation of the musical The Best Little Whorehouse in Texas it's a comedy with melancholy overtones and an atypically unhappy ending; in Opera Theatre's spectacular mounting of Jules Massenet's Thaïs it's a melodrama with tragic pretensions. Tosca has a richer score and Whorehouse a more coherent book, but Thaïs is, hands down, the best theatrical experience of the lot.

Much of the credit goes to Massenet, who was a sort of late 19th century Andrew Lloyd Webber. Theatrically savvy, with a flair for the exotic and a knack for writing operas that were as popular with the public as they were disdained by the critical establishment (most of whom were busy gushing over Richard Wagner), Massenet filled Thaïs with virtuoso arias, wonderfully theatrical ensembles, and vivid orchestral writing. Add in a top-notch cast and colorful costumes and you have the run-away winner of the Opera Theatre season.

Based on a scathingly anti-clerical poem and novel by Anatole France, the libretto tells the story of Thaïs, a courtesan and actress in 4th-century Alexandria and the monk Athanaël, who strives to save her soul even as he covets her body. Thaïs converts, but the forced march across the desert to a convent with Athanaël proves too much for her and she finally dies in a rapturous final scene as Athanaël realizes, too late, that he has lied to her and to himself.

Soprano Mary Dunleavy is just plain splendid as Thaïs, sailing through demanding music with ease and convincingly portraying both the character's hedonism and her eventual joy in converting to a religion that promises the eternal life she so desperately wants. Baritone James Westman, who was an impressive Enrico in last season's Lucia di Lammermoor, nicely matches Dunleavy's intensity and conviction as Athanaël. It's a difficult role to play since the actor must make it clear to the audience that the monk's motives are impure without overplaying it and thus making his denial implausible. Westman walks that fine line skillfully without a single misstep.

Tenor Gerard Powers is equally impressive as Nicias, Thaïs' friend and sometime lover. There's also fine work here from bass Brian Kontes as Palemon, the senior monk, contralto Kendall Gladen as the Abbess, and soprano Byung-Soon Lee as The Enchantress in the obligatory Act II ballet sequence. Best of all, everyone in this cast sings Colin Graham's translation of the libretto with great clarity. From my seat at the rear of section one I didn't miss a thing.

André Barbe's minimalist set and brilliant costumes effectively evoke the exotic locale and George Manahan conducts the St. Louis Symphony musicians with great skill. SLSO concertmaster David Halen provides the moving violin solo in the Act II "Meditation", during which Thaïs makes her wordless decision to abandon the Eye of Horus for the Eye of God.

The bottom line is that OTSL's Thaïs is a powerful and immensely entertaining evening of musical theatre. It's the "don't miss" opera this season. Call the box office at 314-961-0644 for tickets but hurry; it closes on June 28th

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