Pittsburgh Opera’s ‘Time to Act’: Bold, Contemporary, Provocative Opera

True opera fans often are excited by the premiere of a new work. Pittsburgh Opera this week premiered Time To Act by composer Laura Kaminsky with a libretto (and stage direction) by Crystal Manich. The production is staged in the Bitz Opera Factory, a Strip District facility used principally for rehearsal space and which, quite intentionally, has helped to create and workshop several new operas—“four, maybe five, I think,” boasted Pittsburgh Opera’s outgoing artistic director, Christopher Hahn, in his welcoming remarks to the first-night audience. Time to Act is a co-commission by Pittsburgh Opera, Opera Montana, and Boston Conservatory at Berklee, with additional funding by Opera Santa Barbara. 

This new work holds immeasurable promise and, for that reason alone, you may wish to be one of the first to see it. Four more “premiere” performances are scheduled at the Bitz Opera Factory for March 3, 6, 7, and 8. 

The story is staged in three scenes, each in a typical rehearsal studio of an unidentified high school anywhere in America. A dozen theatre students, who call themselves “playmakers,” come together to cast a production of Antigone. Led by their drama teacher, the playmakers are an egalitarian group deciding amongst themselves who will play which part. Their practice begins with a communal game of rhythm, clapping different beats so all are in sync, tossing a ball amongst themselves, thus designating the catcher to take center stage to speak. The activity is a clever device that unites the orchestra, playing above the stage, with the student actors below. It also serves composer Kaminsky and librettist Manich as an opportunity to differentiate character among the playmakers. After all, we have acclaimed Pittsburgh Opera resident artists here playing the roles of typical high school students who will then perform specific characters in a Greek tragedy. 

Antigone, of course, is all about character. Sophocles’ classic tragedy concerns the fate of the title character whose brother has died in battle and whose corpse may not be buried, as recently decreed by the newly victorious King Creon. Antigone, mourning the loss of her brother, defies Creon’s mandate by preparing a grave. Even her sister, Ismene is appalled by Antigone’s daring. When arrested for her intention to defy the king, she pleads her innocence; the divine law of the gods—that all mortals shall be buried upon death—must be obeyed at any cost, even if she is to suffer death herself. Thus, the conflict between Creon and Antigone is elevated by the inequity of state law superseding divine law.

But you need not be a scholar of Antigone, Sophocles or ancient Greek law to parse the social issues presented in Time To Act. Actually, the young playmakers want to rewrite the tragedy themselves. Well, at least the ending; some of the playmakers feel it should be more hopeful, more uplifting—that “only in darkness can we find our light.” Soon into rehearsal, the drama teacher, Robin Grace, is called to the school office and returns with a newly transferred student introduced as Alona. She is a shy, sullen woman who wears an oversized jacket and deflects the interest of two of the leading males: an injured football jock, Tyson, cast to play King Creon, and an ambitious extrovert, José, who will play Haemon, the king’s son. Without much ado, Alona picks up a script and reads for the role of Antigone. The playmakers instantly agree that her solemnity and sensitivity are unmatched for the character; Alona will play Antigone. Yet instantly, school alarms sound, strobe lights flash and the students must actively secure the classroom from a school shooter. Of course, there’s one student who doesn’t know this is all just a drill, a monthly exercise required in light of recent school shootings everywhere in America. Alona is discovered hyperventilating behind wardrobe racks. The woman is in deep shock, exposed for all to judge. But no one laughs. This is serious stuff.

So, too, is Kaminsky’s composition. The overture helps set the stage with suggestions of a marching band rehearsing in a room nearby. And then there are movements of jazz—a sax hits some atonal riffs—and then there’s lots of rhythm, which brings us neatly into the game the playmakers engage with their teacher. Yet, once the alarm drill precipitates the mystery of Alona’s fears, the composition alters little. The score is not just steady in its dissonance—appropriate as that may be—it lacks “color” until the final scene. And, for my taste, that comes way too late. The third scene of Manich’s libretto is called “Catharsis.” The dramatic term may be relevant to some of the playmakers, but not the audience. My critical sense is that Time To Act is a promising work, one built upon a brilliant premise, but it seems too afraid to go where it wants to lead the audience. Operas are deeply dramatic; many favorites lean all too heavily to the melodramatic. Scorned lovers jump off death-defying cliffs, others commit harakiri. In fact, opera may be at its best when it dramatizes the unspeakable. But there can be great beauty, too, in subtlety and understatement. The team of Kaminsky and Manich seemingly want to be both bold and subtle. Alona declares early on that “a book can’t stop a gun.” Or can it? Time to Act answers the question to great satisfaction. 

Great credit is owed to the featured artists of this very capable cast. Logan Wagner shines in the role of José. As a magnificent tenor, he uplifts every scene with clear intent of character and movement. Shannon Crowley plays the role of Bailey (here not mentioned before) who will rehearse for her Greek role as Ismene, Antigone’s sister. A soprano who seems not to be much older than the high schooler she plays, Crowley is one to watch. Erik Nordstrom takes on the role of Tyson, the football jock whose left arm is in a sling, yet he is hardly encumbered on stage. Brashly, and very effectively, he rules both king and jock with a majestic baritone.  As Robin Grace, the drama teacher, Yazid Gray is charming and purposeful, guiding his playmakers with great appeal and a lovely voice. And playing the mysterious new student who instantly wins the role of Antigone, Timothi Williams (Alona) is incomparable in stage presence and control. There can be no doubt that she is Antigone. A mezzo-soprano, Williams proves herself with every scene. None of these featured acclaims are meant to give short shrift to the chorus of other students on stage. Although none are given character names, it’s clear they delight in playing many purposeful roles. Cheers are due Wallis Lucas, Brooklyn Spear, Olivia Blackmore, Izzy Hoyou, Benjamin Meara, Logan Williams, Joe Atkinson, and Conor Warshawsky.

Michael Sakir as the evening’s conductor accomplishes a difficult score with the talent of a small orchestra weighted to saxophone, violin, piano and percussion. Kaminsky’s composition cleverly includes elements for sound effects that are fitting and illuminating. Librettist Crystal Manich also serves as the production’s stage director. Her choreography and blocking are spot on.

Lindsay Fuori is the scenic and costume designer, Mary Ellen Stebbins designed the lighting, and Tess Naval stage managed.

Time To Act runs fluidly for 110 minutes without intermission. In light of early and brisk ticket sales, Pittsburgh Opera has announced an additional performance, but some tickets may be still available for the posted performance dates. Be sure to check the Pittsburgh Opera website for all performance times and dates.  

Photos by David Bachman Photography.

C. Prentiss Orr is a Pittsburgh-based writer who covers theater and other topics for Entertainment Central. He is the author of the books The Surveyor and the Silversmith and Pittsburgh Born, Pittsburgh Bred.

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