LOGAN — This year’s Utah Festival Opera & Musical Theatre (UFOMT) season includes two one-act comedy operas: Scalia/Ginsburg and Trial by Jury. While each opera is unique, both deliver exceptional performances with stunning vocals and comedic timing that is sure to entertain all patrons.
[Editor’s Note: Production Photos have not yet been received by UTBA. When they are, they will be added to this review]
Scalia/Ginsburg by Derrick Wang tells the story of U.S. Supreme Court justices Antonin Scalia and Ruth Bader Ginsburg who, despite starkly different political persuasions and interpretations of the law, were dear friends and known to have attended the opera together.
Under the direction of Josh Shaw, Scalia/Ginsburg takes place in a courtroom at the Supreme Court building and begins with Justice Scalia being visited by the Commentator, a ghostlike presence who explains to Scalia that he must defend his analysis of the law and pass three trials. The Commentator then seals the courtroom doors to “all men” assuming the two will be left alone. Meanwhile, Ginsburg, who is not a man, enters the courtroom to defend her friend, whom she affectionately calls Nino, and the two face the trials together. What follows is an exceptionally brilliant hour of witty yet emotionally edifying storytelling, inspired all by the opinions of Justices Scalia and Ginsburg.
Dane Suarez gave a powerful performance as Justice Antonin Scalia. Suarez encapsulated Scalia’s reputation as both aggressive and charismatic, and his vocals soared throughout the theatre with precision and vigor. Suarez’s ability to maintain a staunch presence required by his character, for example when he is defending his approach to the law to the Commentator, while also conveying a silliness was impressive. One of my favorite parts of the production with Suarez was during a more serious moment when he takes the time to remind Ginsburg that “you’re wrong.” His delivery and timing were unmatched.
Rachel Policar as Justice Ruth Bader Ginsburg gave an exceptional performance and was simply a delight to watch. I don’t typically comment on an actor’s physical appearance as part of a review, but it felt necessary to mention that Policar’s petite stature truly mirrored that of Ginsburg’s, which made her performance that much more enjoyable and believable. This was especially important considering Wang included direct quotes from Ginsburg, one being “women belong in all places where decisions are being made.” Policar’s vocals were clear, vibrant and flawless and her energy and enthusiasm throughout the production was marvelous.
Eric J. McConnell as The Commentator gave a superb performance. McConnell’s vocals were breathtaking and as the only fictional character on stage, I enjoyed watching McConnell interact with Suarez and Policar. McConnell’s ability to project his character’s authority while also being taken aback by Policar’s no-nonsense attitude and gall was a highlight of the production.
Shaw’s direction was among the best I’ve witnessed, and every technical element felt in harmony with one another. The live orchestra conducted by Andreas Mitisek was beautifully performed and overall well-balanced with the actors. At times, however, it was challenging to hear Policar over the orchestra.
I had high expectations for Justice Ginsburg’s costume and Costume Designer Amanda Aiken easily exceeded them. I appreciated the attention given by Aiken so that Policar really looked like the Ginsburg we know with her statement earrings and signature accessory, the jabot, as well as a slick, low bun by Hair and Makeup Designer Melyssa Swensen. Lighting Designer Ari Jamieson provided some of the most striking technical elements of the production. Bright lights frequently lit up the stage, all of which was perfectly executed and timed with the actors on stage.
As the granddaughter of a former Chief Justice of the Utah Supreme Court, Scalia/Ginsburg intrigued me because it was a comedy. I was raised to have an almost reverence for the Court and was curious how I would enjoy a funny, lighthearted depiction of the justices. I say without reservation that Scalia/Ginsburg is one of the best productions I have ever seen.
Upon the conclusion of Scalia/Ginsburg and after a short intermission, Trial by Jury began. With Music by Arthur Sullivan and Libretto by W.S. Gilbert, Trial by Jury was originally performed at the Royalty Theatre in London in 1875. The short, 30-minute opera was an immediate hit with audiences. With Updated Lyrics by Josh Shaw, this performance of Trial by Jury takes place in Hollywood, California in 1985. It tells the story of celebrities Edwin and Angelina who, after five years of marriage, are getting a divorce after Edwin allegedly fell in love with another woman. Edwin and Angelina arrive at the courthouse only to be greeted by a slew of reporters, a very partial, all-male jury that does little to hide its affection towards Angelina and a questionable judge, ultimately turning the proceedings into quite the spectacle.
Under the direction of Josh Shaw, Trial by Jury is a fast-paced production that manages to introduce a slew of very unlikeable characters in a matter of minutes. Rachel Policar gave an impeccable performance as Angelina, the Plaintiff. Watching Policar perform such different characters back-to-back allowed me to fully appreciate her range of abilities and professionalism. Adorned in a short red dress, Policar fully embraced Angelina’s “woe is me” attitude and dramatics by pretending to faint, producing an ear-piercing cry and charming the jury with suggestive body movements.
Complimenting Policar’s drama was Brian Wallin as Edwin, the Defendant. Wallin portrayed the unapologetic, cheating husband remarkably well. What I enjoyed most about Wallin’s performance were his facial expressions and reactions to the other characters. Wallin understood that his character appeared to be the only person aware of the absurdity of what was unfolding before him and he conveyed his annoyance, displeasure and surprise perfectly. I also enjoyed the moment when Wallin is leaning back in his chair with his hat over his face, appearing to be asleep, while chaos ensues around him.
The orchestra conducted by Dallas Aksoy was flawless and well-balanced with those on stage. Another striking element was from Costume Designer Amanda Aiken and Hair and Makeup Designer Melyssa Swensen who together created a wonderful display of 1980s fashion, particularly for the actors who were The Members of the Press.
UFOMT’s Scalia/Ginsburg and Trial by Jury were both brilliant performances filled with humor, heart and lunacy. As I was leaving the theatre, I remember thinking how fortunate I am to live in an area that stresses the importance of the arts and makes productions available for all to enjoy. Whether you are familiar or new to opera, I highly recommend these unforgettable performances.
Utah Festival Opera and Musical Theatre’s Scalia/Ginsburg and Trial by Jury runs June 29 and July 6 at 7:30 PM and June 30 at 1:00 PM at Utah Theatre, 18 W Center Street, Logan, UT 84321. Ticket prices range from $23 – $78. For more information, visit utahfestival.org.