The recent production by K-State’s School of Music, Theater, and Dance of “Amelia Goes to the Ball” was delightful. The 70-minute opera is by Gian Carlo Menotti, an Italian-American, 20th century composer and the founder of the Spoletto Festival.
Menotti’s operas just about always please, and this one is tuneful (except for one brief passage) and comic. The composer also wrote the script and lyrics here. And he wrote an arch little story that entertains without seeming tired.
The entertainment opens with a socialite, Amelia (Amaya Dungan, in this production) dressing for an evening out. She delays to find a lacy scarf that completes her ensemble. Then she’s all dolled up and ready to leave, accompanied by a male friend (Carter Keesecker), when her husband (Ethan Irons) arrives and demands a private interview.
He has discovered a letter from an admirer of hers, and he demands the writer’s name. Amelia’s other half has a gun, which he waves around. Eventually our feckless heroine admits her correspondent is their neighbor (Chris Melton), and she again tries to go to the party. But while hubby is searching the apartment, her beau arrives, laughs when he hears about the husband’s discovery, and hides himself on the set.
Her husband discovers her beau. They begin a silly conversation. And Amelia knocks her spouse out, using a vase as a weapon. Before she can get away, about a dozen parties — including journalists, maids, nurses, and A’s original escort — arrive and the police are called. The lead cop (Brahm Berry) too-quickly concludes that the lover is a burglar who clubbed the husband. Now will Amelia get to the ball?
Director Jerry Jay Cranford and musical overseer Reginald Pittman had a lot of on-stage talent to work with here. Dungan was just right in her part, both as a singer and an actress. Irons had sufficient voice to carry his part and he was devoted to his comic angry, staring characterization. Melton had a fine voice and a pencil line mustache that seemed the key to his character’s personality.
The large (43 piece—there were six percussionists!) pit orchestra under the baton of Rachel Dirks was well-rehearsed and lively. They performed at a level that allowed them to get the light music across while not obscuring any of the singing.
Deb Bruner’s spare set — vaguely art deco with a tall pillars, a fainting couch, a large central entrance, a dressing table, two stylish chairs, and a cocktail bar—worked well. And Dana Pinkston’s costumes were fine even when measured against her usual high standard.
The lover had a jacket with a pink shawl collar. The long, tall police chief’s height was extended by three rows of metal buttons on his coat. Among the sight-seeing crowd were two women, walking tilted back as if they were runway models, with mink stoles, long ones, and cigarette holders, also long.
Even some of the minor players managed to give personality to their parts. The maids, for example—one was easily distracted and the other was on the job. Their admiration for the details of their mistress’s ball gown was so giggly that it implied recognition that the whole business was silly. Which is sort of Menotti’s position about the characters and events.
Well, they may have been silly. But they weren’t inconsequential.
Thanks to the music and libretto, these talented students, directed by adept faculty, were given the opportunity to delight the audience in McCain Auditorium with a good production of “Amelia Goes to the Ball.”
