LOGAN The Rape of Lucretia is an Opera with music by Benjamin Britten and a libretto by Ronald Duncan. This opera is somewhat new by operatic standards, having first been performed in England in 1946. Being quite a novice to the world of Opera, I was intrigued and a bit worried about going to Logan to experience this event, though every year I try to broaden my horizons, so I felt that the USU Opera Theatre program would be an excellent way to branch out as a theatre critic for 2025.

Directed by Vanessa Ballam, I admit I was quite taken by the performance. As should be evident by the title of the production, this was not a show that was light on subject matter. Ballam mentioned in her directors note in the playbill that this production was an emotional journey. Held on the USU campus in the Russell/Wanlass Performance Hall, which was opened in 2006 (three years after I graduated from the school), I was absolutely enamored by the beautiful acoustics in that setting. The live orchestra of students and faculty, conducted by Daniel Wachs, added such a level of perfection to the evening that cannot be matched. It was as much their performance as it was the vocalists. In the opening act, the level of contrast from the violins and the percussionists helped me understand when things were light and mellow and when things were dark and serious, and the piano, played by Professor Dallas Aksoy who also directs the USU Opera Theatre Department, continued to thrill me.

Projection design is the newest wave in the performing arts, and with this production Audrey Kearl has utilized skill, interesting choices, and a wise balance to provide a balanced atmosphere. The production started out with a slide show of art depicting Roman history on a backdrop of silks that partially covered the orchestra. This was an interesting choice, because Ballam had chosen to set the production in WWII instead of the historical time that Lucrecia is assumed to have lived in. While this type of setting change is something I have often seen in the world of Shakespeare, I am unaware of its usage in Opera. I found the choice captivating, making way for interesting costume and set choices by Dennis Hassan, and a bit of an easier time to connect with the story.  The lighting design by Eddie Myers was also a technical masterpiece, especially at some of the darker moments of the opera, where the music, movements, and lights would combine to chilling effect. At one point red lights shone down on the white silk currents while dark foreboding music played, and I felt my heart begin to race.

Utah State University ; USU Opera ; Cache County ; THE RAPE OF LUCRETIA ; 2025 ;

Pictured (L to R): Caden Webb, Johnny Richardson, Holden Smith. USU Opera Theatre; Director: Vanessa Ballam; Conductor: Daniel Wachs; Scenic/Costume Designer: Dennis Hassan; Projection Designer: Audrey Kearl; Lighting Designer: Eddie Myers; Photo: Dycie Jo Photography

For people like myself, somewhat new to attending the Opera, I was glad that even though the production was in English, that subtitles were offered. I know that this is a common practice, and I wish for many reasons it was common place in more theatrical spaces. While I realize there can be obstacles to this, understanding the accessibility that it provides for those with hearing difficulties, comprehension difficulties, and just basic learning style differences makes the use of subtitles such a basic yet wonderful accommodation. Additionally, the detailed summaries in the program of the story were so helpful to guide me through the story.

As for the story and the players, the trigger warning is in the title. Lucretia, played by Allison Johnson, is a loyal and faithful wife to Collatinus, played by Johnny Richardson, who is off at warn. Some of the other officers are jealous of Collatinus, especially Prince Tarquinius, played by Caden Webb. The prince uses his status to take advantage of Lucretia, and this of course leads to tragedy. Among some of the other roles is a male chorus played by Ben Shaw and a Female Chorus played by Emma Dombroski, Junius, another soldier, played by Holden Smith, Bianca played by Anna Leita Davis, and Lucia, played by Linnea Miner Mott.

Shaw and Dombroski as the chorus were impressive as narrators. Some of the most riveting moments for me were simple things like listening to Dombroski hit and sustain long, beautiful notes while sitting down. Many times while looking for strong belting options within musical theatre it is important to attend classical shows to remind ourselves of the importance of strong singing. Additionally, sometimes people service as narration remain bland and lack connection to the story, but Shaw and Dombroski showed emotion and connection that was strong and alluring.  Each of the players were very strong in their part, and not a weak link was among them. It is clear that the education happening in the music department at USU is highly distinguished. Some of the best moments were the complexities of the harmonies, such as when the four women sing together in the beginning of the second scene, or when there is the stark warning from the male and female chorus at the end. Is all this suffering in vain? Ballam in her note asks what is relevant today, and that seems to be why we create and recreate art, to find what is relevant. Thank you to the USU Opera Theatre for helping me experience something new.

 

USU Opera Theatre’s Rape of Lucretia performed from January 17-19. For more information about their program and their season please see https://cca.usu.edu/music/programs/opera-theatre