Photo Courtesy Mark Frohna
In his third season Viswa Subbaraman again proves the Skylight Music Theatre’s versatility, exploring beyond the tried and true into the realm of modern works that might otherwise remain unheard by the Milwaukee audience. Friday last, the Skylight opened a rare production of Thomas Adès’ 1995 opera, Powder Her Face, the tale of the fall from grace of Margaret Campbell, Duchess of Argyll. Directed by Robin Guarino with Subbaraman as musical director, the piece is a stunning achievement.
The opera begins and ends in 1990. Liliana Duque Pinero’s stage design consists of a single set, the duchess’ elegant residence hotel room. A vintage gramophone stands stage left, its great pink-lined horn beckons like a vaginal Georgia O’Keeffe lily. Defined by Cesar Galindo’s period costuming, flashbacks follow Margaret’s celebrity rise to her ultimate undoing. The duchess, reputedly the most photographed woman of her time, ironically has her sexual exploits exposed by the 1950s version of the selfie, the Polaroid. In the ensuing divorce court scene, a judge berates her moral depravity and condemns the loveless Margaret while exonerating her philandering husband. There’s graphic sex from fellatio in silhouette to sadomasochism. Yet the scenes are hardly sensational. Rather, they appear merely as random acts committed in the name of unfulfilled love.
The cast of four features Cassandra Black as the duchess. Kaleigh Rae Gamache’, Joseph Beutel and Ken Robinson sing various supporting roles. All offer sovereign performances both as singers and actors. But Black delivers not only exceptional music but a provocative yet compassionate portrait of Margaret and her tumultuous, tortured life.
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The music is challenging. There are moments of Cole Porter and Prokofiev with notes of Weill, Stravinsky and Berg in this quirky and often atonal score. The orchestra, a mix of traditional and unconventional instruments, manages it with ease. The tonal darkness is complemented by Carrie Cavins’ shadowy lighting design.
The production runs 100 minutes without intermission. An insightful talk with the directors precedes each performance (highly recommended!).
