As the drama unfolded, “This House” felt divinely ordered to be on the Opera Theatre of Saint Louis stage at this very moment.
With a libretto by mother-daughter writing team Ruby Aiyo Gerber and two-time Pulitzer Prize-winner Lynn Nottage set to music by composer Ricky Ian Gordon, the production became the organization’s 45th world premiere on Saturday. “This House” is a defining moment for OTSL’s 50th anniversary season.
The opening took place two weeks after a tornado decimated historically Black areas in St. Louis. Homes that had been cornerstones for families for generations were left in shambles. Through “This House” the Walker family demonstrates the magnitude of those losses by illustrating the choices and sacrifices they were willing to make in order to hold on to a Harlem brownstone. Their most prized heirloom, the house has been in their possession since 1919. Not even death could diminish the connection to 336 Convent Avenue established when Minus Walker worked his fingers to the bone to purchase the home to establish generational wealth and legacy.
A century later, Minus’ great-granddaughter Zoe is forced to confront those choices, and other long-held secrets, as she wrestles with the decision of keeping the home in the family.
The opera opened on the eve of Black music month, with a stage full of African Americans singers. They belted along to Gordon’s composition that is a reflection of how Black America has influenced every genre – including classical music.
“This House” also opened on the eve of Pride Month. The most touching amongst the featured love stories is the one between Zoe’s twin brother Lindon and his partner Glenn.
The opera begins with an opening scene with a high degree of difficulty. It is an overture of sorts that sets up the storyline for the multi-generational span of “This House.” Nearly every character shares the stage at the same time – and displays their mark on the timeline of the home’s storied history. Director James Robinson exhibits his talent from the start by providing each of the characters with full agency, without impeding on their individual moments in the spotlight.
There is much to be told in a short time for “This House,” so Gerber and Nottage use the opening scenes to inform the audience as the story sets course. Because of this, the first few selections feel a bit crowded. But the move will ultimately be appreciated by the end of the production.
Having St. Louis native Adrienne Danrich to usher the story along as Ida also lends to the sense of fatefulness of “This House.” Her dynamic performance among a strong, talented cast was one her city can be proud of.
Each of the ten artists charged with telling the story of “This House” are an asset, but there are a few key standouts. Danrich portrayed Ida with the intention of showcasing the capacity of gifts our region has with respect to homegrown talent. The rousing standing ovation she received was an indicator that her mission was accomplished. Justin Austin, who starred in the opera adaptation of Nottage’s award-winning play “Intimate Apparel,” delivered yet another stunning performance for Opera Theatre of Saint Louis with “This House.” His portrayal of Lindon is hauntingly beautiful. The character is a devoted artist who is racing against time. He fights through to offer his own cultural contribution to the setting of a renaissance – which was more of an artistic revolution – that showcased the creative ingenuity of Blackness in the 1920s and beyond.
Austin is so dialed in to Lindon that he sat through the entire 25-minute intermission putting the finishing touches on his character’s painting.
Through Austin’s Lindon and Brad Bickhardt’s portrayal of Glenn, “This House” gives a love story laced with the ultimate heartbreak – one that is beyond either character’s control. The chemistry and connection between them dig deep within the viewer. The genuine adoration and intimacy will force everyone who sees “This House” to immediately admonish the hatred and inhumanity forced upon individuals based on who they choose to love.
Along with the performances, the production quality of “This House” perfectly serves the story – particularly costume designer Montana Levi Blanco and set designer Allen Moyer. Conductor Daniela Candillari deserves a nod for directing the musicians through the array of musical elements that reinforce the notion of “This House” taking place over several decades.
The strongest link of “This House” is found within the language offered by Gerber and Nottage. Reading the subtitle tiles of the lyrics being sung, feels more like one is experiencing the musical embodiment of a poetry collection. And the words would sing, even if they weren’t set to music.
The world-premiere of Opera Theatre of Saint Louis’ presentation of “This House” by Ruby Aiyo Gerber, Lynn Nottage and composer Ricky Ian Gordon continues through June 29th as part of their 50th anniversary season. For a full schedule of showtimes, as well as the full line up of productions, visit www.opera-stl.org or call 314.961-0171.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
