Enterprising West Edge Opera recently mounted an engrossing new production of Damian Geter and Lila Palmer’s engaging opus, American Apollo.
This is only the second staging since the World Premiere in 2024 at Des Moines Metro Opera, which I also covered, and this current highly affecting account roundly confirmed my thinking that the piece definitely has legs. I had also reviewed the truncated workshop presentation the year before, so I will draw a bit on my prior growing impressions of the piece, and bring it into the present.
Mr. Geter’s biography notes that the composer ‘infuses classical music with various styles from the black diaspora to create music that furthers the cause of social justice.’ Upon this third hearing, I still did not find too much that evoked any particular ethic influence, beyond the very occasional suggestion of a choral workers song, a jazz lick, or a few moments of religious reflection. I emphatically continue to enjoy the music as highly accessible, more often than not, tuneful, and a pleasing collage of styles like Michael Torke, Ricky Ian Gordon, and William Schuman, and I wrote: “even (and I mean this very positively) occasional suggestions of Andrew Lloyd Webber’s best effects in Aspects of Love and Evita”.
“All of that said, Geter’s sound palette and approach is very much his own distinct amalgamated voice, and most often, invigoratingly fresh. He does like his undulating figures that are hypnotic in the way that Phillip Glass uses arpeggiated motifs. There was a repeated underpinning of a ‘do-mi-fa-do-mi-fa-do-mi-fa’ pattern that was quite aurally seductive.”
“The underpinning of social justice fell more to Ms. Palmer’s succinct and poetic writing. That she has fashioned some very affecting, witty, and informative interactions is commendable, given there is not all that much known about Thomas McKeller (1890-1962). He was discovered to have been the African American model for painter John Singer Sargent (1856-1925), who is considered the foremost portraitist of his generation. The two men struck up a chance acquaintance which led to Sargent’s hiring of McKeller, who became the artist’s principal model in this country. Curiously, Sargent used him as a body model which he ‘lightened’ for white gods and allegories, notably in murals at Boston’s Museum of Fine Arts, and Harvard University.”
“Ms. Palmer has quite masterfully fleshed out the possible character relationship between Sargent and McKeller. She has pieced together a rather convincing probability that the two became intimate, and that an initial raw, suppressed physical attraction by the homosexual Sargent for this model, grew inevitably to a co-dependent emotional and professional bond.”
A good tragic love story is informed by its challenges, and there were challenges galore, from McKeller’s financial dependence on Sargent, to the racial injustice of the time, to the societal view of homosexuality, to the perceived emotional and monetary abandonment of McKeller by Sargent on two occasions, to Sargent’s hiding of McKeller’s identity by “whitening” his image for public display.
The production values were up to the festival’s usual high standard, beginning with the handsome set design by Nina Ball. The storytelling requires multiple locations, and Ms. Ball has effectively crafted an elegant unit set with elements that seamlessly unfold, turn, get redecorated, draped, and refurnished to simply but effectively suggest the diverse locals. The most constant setting, Sargent’s studio was beautifully dressed. Michael Oesch has contributed a stellar lighting design that assisted in defining the varied settings and moods with specials, area isolations, and well-chosen hues. Yuri Izumihara’s apt, unobtrusive projection design provided telling visual accents. Sarah Nietfeld’s effective period costumes included blue collar creations, well-tailored uniforms, and sumptuous upper society chic, which were complemented by Roxie Johnson’s perfect hair and makeup design.
Director Nataki Garrett gave us a decisive achievement in her handling of the staging, moving her actors around with purpose and variety. She was particularly effective in choreographing the numerous set changes which were immaculately executed. Too, I loved the honest, deeply engaged character relationship she managed to construct between McKeller and Sargent. There was more smooching and affectionate touching than I recall, but the intimacy was impeccably calibrated and enacted with no sense of unease. My one quibble was that early on I found some of Sargent’s outbursts a bit too fey, more Nathan Lane in “The Birdcage” than the closeted painter. Ms. Garrett also achieved nice touches by having some action in the aisle in front of the orchestra and on the side stairs leading to the stage.
The show was anchored by three performers at the top of their game. Markel Reed was giving a definitive star turn as Thomas McKeller, his secure, pliable, forceful baritone capable of aching honeyed laments one minute, and rafter rattling outbursts the next. His luxuriant instrument and sound technique were flawlessly matched with committed acting that had persuasive emotional investment. There is nothing about this daunting role that eluded him, and his was an overwhelming accomplishment.
As John Singer Sargent, John Bellemer offered a separate greatness, his sizable, vibrant tenor showing fine presence, and executing malleable phrasing. He has been given some tricky arching musical lines to accomplish, angular intervals, and some searing outbursts, but Mr. Bellemer encompassed all of that with great facility, and his acting was expertly judged.
Marnie Breckenridge proved an utter, crowd pleasing delight as Sargent’s patroness, Isabella Stewart Gardner, her elegant, bell-toned soprano lilting and soaring, trilling and chirping with utmost ease of production. Ms. Breckenridge not only provides some playfully voiced comic relief as a self-deprecating dowager but also mediates with mellow hued perfection when the two lovers are having relationship doubts. She brightened every scene she was in with her magnetic presence and the audience loved her for it.
Minor roles were equally well served with consummate skill and distinction. Alexandra Armantading’s sunny, glistening soprano gave great pleasure as McKeller’s sister, Ida Mae McDonald; Tenor Matt Hidalgo was a fireball as Sargent’s rejected model and lover, Nicola d’Inverno, his substantial, unabandoned singing conveying steely confrontation, peril, and self-pity; Florence McKeller, Thomas’s mother, was embodied by the poised, polished, soulful soprano of Leberta Lorál; and golden-toned baritone, Philip Harris made the most of his small role as Ida Mae’s husband, Willie. Four stentorian gentlemen started off the performance with a searing set-up to establish the scene, all excellent, who appeared intermittently throughout the show: Wilford Kelly, C. Michael Belie, Josh Black, and Alex Taite.
Conductor Kedrick Armstrong was in full command of his musical forces, and elicited an assured reading from his formidable musicians. Maestro Armstrong masterfully drew out a plethora of exciting colors from the band and segued with consummate ease between the shifting musical styles. Moreover, he provided stunning dramatic support for his two male leads as they sang extended, impassioned solo passages.
If West Edge Opera’s winning second-ever production of American Apollo is any indication, I would think that this important new piece will have a bright future on a growing number of stages.
James Sohre
American Apollo
Music by Damian Geter
Libretto by Lila Palmer
Cast and Production Staff:
Thomas McKeller: Markel Reed; John Singer Sargent; John Bellemer; Isabella Stewart Gardner: Marnie Breckenridge; Ida Mae McDonald: Alexandra Armantading; Nicola D’Inverno/Mr. Sparhawk: Matt Hidalgo; Florence McKeller/Mrs. Smithson: Leberta Lorál; Willie McDonald: Philip Harris; Clarence/Emcee: Wilford Kelly; George: C. Michael Belie; Walter: Alex Taite; Jimmy/Mr. Carhardt: Josh Black
Conductor: Kedrick Armstrong; Director: Nataki Garrett; Set Designer: Nina Ball; Projection Designer: Yuri Izumihara; Costume Designer: Sarah Nietfeld; Hair and Makeup Designer: Roxie Johnson; Lighting Designer: Michael Oesch.
Top image: Markel Reed (Thomas Eugene McKeller) and John Bellemer (John Singer Sargent)
All photos by Cory Weaver