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GAY PEOPLE'S CHRONICLE JULY 10, 1998

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EVENINGS OUT

Operas focus on toeing the line, or ignoring it

·

by Richard Berrong Cleveland-For its second production of the summer, Lyric Opera Cleveland is presenting a double bill of two one-act works, Maurice Ravel's The Spanish Pastime (L'heure espagnole) and Leonard Bernstein's Trouble in Tahiti, that should be of particular interest to gay audiences for a variety of

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reasons.

To begin with, the composers themselves were both of at least ambiguous sexuality. Bernstein's gay involvements have been recounted in detail, with and without fact, in several biographies since his death. Ravel's sexuality, very private like so much else of the man, is now a subject of debate and investigation among music historians.

More importantly, however, the works themselves both deal with issues of direct concern to gay audiences. I spoke recently with Jonathan Pape, the openly gay director for this production. Pape was quick to explain how the pieces address gay-relevant topics.

The first, The Spanish Pastime, is a sex farce that presents the story of Concepcion, a woman who is aware of her sexual needs and takes responsibility for getting them met. She is not concerned with social convention and, equally important, neither is the work itself. Instead, it depicts her, her desires, and her actions with no moral judgment. Sexual satisfaction becomes a laudable goal.

Trouble in Tahiti, despite its strange title, deals with the very American topic of how those growing up in the post-World War II United States were sold a bill of goods about what they were supposed to be, and the conflicts that they experienced when their lives did not conform to those expectations and images.

In addition, the work explores the problems encountered when partners in a relationship become so caught up in trying to acquire the material trappings that society has equated with success and happiness that they cease communicating, or even fail to realize that they have problems that require communication.

For Pape, Trouble in Tahiti is very much the story of our parents and how their problems in turn affect our lives.

Not surprisingly, in Bernstein's sequel, A

Quiet Place, the gay son of the original couple also has problems communicating with his partner.

Pape has been very concerned with gay issues throughout his professional life. He recently directed the first Israeli production of Terrence McNally's Broadway hit Master Class, which involved working closely with LYRIC OPERA

Jonathan Pape

the translator to find appropriate modern Hebrew equivalents for the various gay references in the play. He told me that he "adores" much of McNally's output, and would particularly like to direct a production of Love! Valour! Compassion!

For Pape, that play takes gay literature beyond the customary issues of coming out and homophobia to a discussion of how gays relate to other gays.

Pape also discussed with great joy the particular qualities that he has been able to bring to directing as an openly gay man. He has felt free to exercise what he calls his "emotional muscles," to speak in big language and make large strokes. He is not afraid to be outrageous, fabulous, even ridiculed. All of this freedom allows him to create an atmosphere in which his performers feel free and safe to express even the most outlandish emotions.

Members of the northeast Ohio gay community interested in catching Pape's directorial style are fortunate in being able to see how he has molded two works that speak so directly to both him and gays in general.

The Spanish Pastime and Trouble in Tahiti will be performed July 15, 18, 23, and 25 at 7:00 p.m., and July 19 at 2:00 p.m. The evening performances have an hour intermission between the two works and there are tables on the grounds of the Cleveland Institute of Music, where the performances will take place, so theater goers can bring a picnic dinner or order one from Lyric Opera. (Box dinners must be ordered at least three days in advance.) To order tickets and dinners call: 216-231-2910.

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