Samuel Ramey

Wichita Symphony Orchestra with Samuel Ramey: Duke Bluebeard’s Castle

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Béla Bartók: Duke Bluebeard’s Castle, Op. 11

Samuel Ramey as Bluebeard
Nancy Maultsby as Judith

Wichita Symphony Orchestra
Daniel Hege, Music Director and Conductor
Marie Allyn King, Stage Director

This past weekend I had the opportunity to hear the Wichita Symphony Orchestra’s performance of Bartók’s 1911 opera with Samuel Ramey in the title role, enhanced by Dale Chihuly’s glass sculptures (seen above). A deeply penetrating psychological study, the opera is based on the fairy tale about a young bride who uncovers her new husband’s bloody secrets, but the text (by Béla Balázs) replaces a literal retelling of the story with one almost completely interior. Productions typically include staging that brings out the symbolism in the text (such as Michael Powell’s 1963 production for West German television that places a nuptial bed at the center of the action), and Chihuly’s sculptures were no exception. The sculptures, in the shape of spears, bulbs, flowers, and more, represented images as diverse as an armory, a hoard of gold and jewels, and a lake of tears.

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A particular challenge to the stage director is the ambiguity of the ending; Powell’s direction can be read as an interrogation of coercion and consent, with the clear implication that Judith dies to learn the truth. For the WSO’s performance, Marie Allyn King chose to keep the ending mysterious, allowing the audience to reach their own conclusions. In any case, Judith’s character arc is a tricky path for any actress, and one which Nancy Maultsby successfully threaded, both pushing Bluebeard to uncover his secrets (at one point she turned the tables on Bluebeard with a gesture as simple and economical as a hand raised in denial of him) but fearing what she may uncover. (In this regard, Bluebeard’s Castle has much in common with the sumptuous gothic horror of Roger Corman’s Poe films, making the truth something to be both yearned for and dreaded.) King’s staging and Maultsby’s performance suggested, at least to this viewer, that Judith ultimately fell victim to the powerlessness of being put on a pedestal: the prison of royalty. As Ramey said in a Q&A after the performance, “She was warned!”

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Here’s what I wrote for the Wichita Eagle.

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Over the Garden Wall at The Solute

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Last week, Cartoon Network ran its first animated miniseries, Over the Garden Wall, described as a “five night mystery adventure.” Created by Patrick McHale, previously of CN series Flapjack and Adventure Time, Over the Garden Wall leans on the traditions of fairy tales, classic animated cartoons, and much more, and featured enough star power (including such names as Elijah Wood and Wichita’s own Samuel Ramey) that it fully lived up to its “event” status. Over the Garden Wall also draws on the archaic, mysterious body of song and folklore collected in the Anthology of American Folk Music, described by Greil Marcus as “The Old, Weird America.” I’ve written before about my love for the Anthology, so it will not surprise my regular readers to find that Over the Garden Wall‘s synthesis of influences was catnip to me.

I wrote more about it in my review at The Solute; although television rather than a film, I felt that under two hours total (leaving out commercials, of course), Over the Garden Wall could be considered a ten-part feature, and works well in that format.

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