One of the greatest challenges of theatre is representing art through music—and music through art. ShadowLight, a new opera from Marble City Opera with music by Larry Delinger and libretto by Emily Anderson, took that challenge as part of Knoxville’s current effort to recognize and celebrate the life and work of a native son, the artist Beauford Delaney. In its world premiere on Friday night at the Beck Cultural Exchange Center, the opera took an abstract route, revealed not just in the projections that immersed the singers in the saturated colors of Delaney art, but also in the energetically fluid storyline which begins with Delaney’s last days in St. Anne’s Hospital in Paris of 1979 and his funeral eulogy delivered by his longtime friend, the writer and activist James Baldwin.
Directed by Kathryn Frady and James Marvel, the opera’s time scheme compresses and expands in Anderson’s libretto as the emphasis jumps to locations and events in Delaney’s past in New York City and back again to his battle with the voices of schizophrenia that haunted and tortured him for most of his life—voices challenging his own image of self-worth. Likewise, Delinger’s quasi-episodic score meanders through the back alleys of madness and insanity via angular dissonance and disquieting textures only to find relief in the riffs of blues and jazz that Delaney claimed as an influence.
The superb five-member cast handled the intricate transformations in mood and tone with precision, as well as mastering the physical movement from scene to scene. Singing the role of the beleaguered Delaney was baritone Brandon J. Gibson, a singer possessing an instrument of substantial richness and substance. Tenor Vincent Davis sang the role of James Baldwin with a clarity and vocal stylishness that drew one into the depths of the character.
Clad in white medical coats, the three “Voices” (beautifully sung by soprano Regan Bisch, tenor Joshua Allen, and tenor Breyon Ewing) portrayed not only the idea of his hospital commitment and madness, but also supplementary figures in Delaney’s life. Their stage movement of precise right angles and geometric patterns was in stark contrast to the turbulent and chaotic movement of Delaney when beset by his demons and the natural movement of Davis’ Baldwin as he rushes to embrace and comfort his friend.
Delinger’s score was brought to life by an eleven-member ensemble of strings, woodwinds, and percussion that notably included an impressionistic saxophone part for its bluesy, jazzy contribution of textures—played here with a lot of character and mood by Will Boyd. Managing the intricate pacing and the colorful and ever-changing instrumental flavors was conductor Brian Holman. The music director was Brandon Coffer.
The marvelously immersive video image design taken from Delaney’s paintings was by Joe Payne; lighting was Liv Jin.
ShadowLight receives one more performance tonight (February 29) at 7:30 PM at the Beck Cultural Exchange, 1927 Dandridge Avenue. Tickets
Parking is available at Mount Calvary Baptist Church, 1807 Dandridge Avenue, with a shuttle provided.
