Add the Washington National Opera to the list of those celebrating what would have been the year of the 100th birthday of Leonard Bernstein, as it presents the composer’s notable take on Voltaire’s biting satire, Candide through May 26 at the Kennedy Center.
Featuring classic tunes such as “Make Our Garden Grow” and “Glitter and Be Gay,” this version of Candide marries a triple threat of theater, dance and opera. Bernstein wrote a piece with so many different layers, many compare it to his personal love letter to Europe.
Eric Sean Fogel is the associate director for the show, and has also served as choreographer on the project since 2015. He says the best way to describe the performance is to talk about how not to describe it.
“We start right off the bat by not categorizing the production; we don’t say it’s an opera, operetta or a musical, or a dance piece for that matter,” he says. “It’s kind of everything, and that’s how Bernstein and his collaborators wrote the piece. It’s a world onto its own.”
However, Fogel shares, what audiences can expect to see are 12 massive production numbers and a journeying piece of a young man trying to figure out who he is by exploring the world and searching for both his love and his reason.
This current production is the fifth remount of the show. It all began when Fogel would meet with Francesca Zambello the director, Jennifer Moeller the costume designer and Jim Noone the set designer, once a month for a year to slowly go through and talk through the piece to figure out how to tell the story of 13 locations effectively on stage.
“It does have a cinematic, huge sweepy feel to it that takes a lot of time to plan out scenically and costume- and design-wise,” Fogel says. “After a year, we settled on this base look of a French warehouse that can be transformed by moving trunks and platforms into any scenario we would like — from boats in Venice to a Bavarian battlefield.”
Throughout the show, there’s also a mish-mash of different period costume pieces for the ensemble, so they could quickly put on a jacket or necklace and represent a different character in a different county.
“We decided the most facile the design could be, the more brevity we could have in the storytelling,” Fogel says. “This is a story that’s already incredibly dense, so you want to keep it moving along and not weigh it down with additional design element. It’s almost like we’re doing the stage version of ‘It’s a Small World’ because it’s such a massive journeying piece and you just want to get different flavors of all the different cultures you go through.”
The show is comprised of a company of 34 singers, actors and dancers and unlike most opera productions, everyone sings, acts and dances like a true Broadway ensemble.
DC’s own Denyce Graves plays the character of “Old Lady.” Although she’s never done a Bernstein production before this, Graves does have a history with him as when she was 14, she made a PSA commercial with the legendary composer.
“I didn’t really know who he was at the time, but of course, over the years I learned he is one of our greatest musical giants,” she says. “This being the centennial, when I was offered the role, I thought it would be a wonderful opportunity. I had known the music of course, but had never seen the work and was curious, interested and excited.”
Regardless of whether people are fans of opera or theater, Graves feels people are really going to enjoy this show.
“It has a lot of the melodies that people have heard throughout the years—everyone has heard ‘Glitter and Be Gay’— and this production is so spectacular,” she says. “It’s so detailed, so funny and I the audience will have a wonderful time.
The production also features Alek Shrader as Candide, Emily Pogorelc as Cunegonde and Wynn Harmon as Pangloss, Voltaire.
Fogel believes that when audiences leave, they will contemplate how to make the world a better place.
“It’s such a beautiful message of someone finding their purpose,” he said. “It’s poignant, has a lot of heart and offers great humanity throughout.”
For information and tickets to the show, click here.
The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; 202-467-4600; www.kennedy-center.org