Scott Joplin's Treemonisha at Opera Theater of St. Louis

The good news about the Opera Theatre of St. Louis production of Scott Joplin's only surviving opera Treemonisha is that it exists at all. The opera wasn't produced professionally until 1972 - 55 years after Joplin's death - and its only previous appearance in St. Louis was in 1979. The not-quite-as-good news is that this production, despite its many strong points, can't completely overcome the weakness of Joplin's libretto and the composer's lack of theatrical savvy.

Joplin sets the story in the late 1880s on a plantation in Arkansas. Unlike her neighbors, young Treemonisha has been formally educated and rejects the superstition of Zodzetrick and his fellow conjurers, who prey on the ignorance of the community for their livelihood. Captured by the conjurers and about to be thrown into a wasp's nest, Treemonisha is rescued by her friend Remus and returned to the community, who elect her as their leader and pledge to "march onward" to a better life.

The story reflects Joplin's belief in the redeeming quality of education as well as his acceptance of the Wagnerian ideal of the composer acting as his own librettist. Unfortunately, Joplin lacked Wagner's writing ability, and Treemonisha presents numerous problems for would-be producers.

Director Rhoda Levine manages to overcome those problems by adding dramatic and comic action not specified in the original libretto and even, in one case, moving and re-staging a scene - the "Frolic of the Bears" from Act III - that doesn't make much sense in the original. Set designer Peter B. Harrison and costume designer Paul Tazewell support Levine's concept with a realistic, sepia-tinted look that calls to mind turn-of-the century photographs of black American life.

Musically, the real stars of Treemonisha are the members of the chorus. Originally a choral singer himself, Joplin composed some spectacular ensemble numbers, especially in the final act, and the OTSL chorus more than does them justice. That last act also features virtuoso tenor and bass arias for Remus and Treemonisha's father Ned, respectively. Nathan Granner and Kevin Short are impressive in those roles, although Granner was somewhat lacking in overall vocal power.

As Treemonisha, soprano Christina Clark suffered from a similar lack of power. Her voice is attractive and accurate, but (at least on opening night) she lacked the volume and clarity of diction to make the character as forceful as she should be. The contrast is heightened by the strong performances in secondary roles by - for example - Jermaine Smith as Zodzetrick and Derrick L. Parker as Parson Alltalk.

Last but certainly not least, Treemonisha benefits from the choreography of Dianne McIntyre. Dance and movement are an integral part of Treemonisha, and McIntyre's work is performed with great spirit by both the chorus and an talented company of dancers.

So, despite it's flaws, the Opera Theatre production of Soctt Joplin's Treemonisha is well worth your time, especially when you consider how difficult it is to find a company with the courage to mount this difficult but rewarding work. Go see it, and applaud the belated realization of the final dream of the King of Ragtime. Opera Theatre will present Treemonisha through June 24th; call 314-961-0644 for ticket information.

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