One the (many) things Opera Theatre of St. Louis is doing right is bringing in new work. This year’s showpiece is the second one commissioned from Terence Blanchard after his success with Champion. That premiered here in 2013 and has gone on to acclaim elsewhere. Fire Shut Up in My Bones is based on the memoir by Charles M. Blow, NewYork Times op-ed columnist and former graphics director and art director there. Blanchard asked the multi-talented Kasi Lemmons, perhaps best known for her films, with whom he’s collaborated before, to do the libretto.
The result is a stunning story, and music that lures the listener in. Like good jazz, it’s a patchwork quilt, a combination of ideas carefully put together to create a harmonious whole that hasn’t been done exactly this way before. Experiencing new things must surely be good for the brain, giving it exercise and making new neural pathways; here’s a chance to engage the eye, the ear and the soul simultaneously.
Charles Blow’s story of his childhood and entrance into the adult world is sometimes lovely and sometimes dreadful. His sexual abuse at the hands of a cousin and the consequences thereof are at the heart of the story. The youngest of five boys, he has a strong mother determined to take care of them despite a carousing husband, a menial job, and an extended family that seems, with the exception of the despicable cousin Chester, supportive. Charles is sung by Davone Tines, who sounds marvelous. His younger self, known as Char’es Baby, is Jeremy Denis. Not only does he play an important part in the show and carry it off with charm, he has a delightful voice and holds his own with the older members of the cast.
It’s a show with strong women’s roles, and Karen Slack, as Billie, Charles’ mother, gives us a beautifully drawn, very human wife and mother whose hands are full with her rat of a husband and five little boys. Her voice is warm and full and extremely satisfying. The wondrous Julia Bullock returns to St. Louis to sing Destiny/Loneliness and Greta, enchanting and almost frightening at the same time in her roles.
One cannot use an adjective like “tasteful” to describe the actions that are the focus here, but it’s staged in a way that is mesmerizing but not graphic at all. Stage director James Robinson has things tightly in hand at all times, using Allen Moyer’s often dreamlike set perfectly.
The jazz-style combo in the pit is just right. It includes the celebrated St. Louis pianist Peter Martin, just to put on a final fillip.
It’s a remarkable piece of work. Charles’ mother’s advice to her son – in many things, not just this – is “You’ve got to leave it in the road. Let it go, move on.” Not everyone is able to do that. But Charles Blow has been able to and it’s our good fortune that his strength has helped give us this work.
Fire Shut Up in My Bones
through June 29
Opera Theatre of St. Louis
Loretto-Hilton Center
130 Edgar Rd., Webster Groves
314-961-0644
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