OUR virtual 22nd season of memories
10/9 - 10/23 Trouble in Tahiti, Bernstein
10/23 - 11/6 Carmen, Bizet
Performances can be viewed on the OTR website and Facebook page.
10/23 - 11/6 Carmen, Bizet
Performances can be viewed on the OTR website and Facebook page.
TROUBLE IN TAHITI
by Leonard Bernstein
Performed February 2018
A co-production of UCCS Theatreworks and Opera Theatre of the Rockies
Performed February 2018
A co-production of UCCS Theatreworks and Opera Theatre of the Rockies
Trouble in Tahiti is a one-act opera in seven scenes composed by Leonard Bernstein with an English libretto by the composer. It is the darkest among Bernstein's "musicals", and one of only two for which he wrote the words and the music. Trouble in Tahiti received its first performance on 12 June 1952.
Prelude – A smiling jazz trio sings of perfect life in an affluent, unnamed suburban town, with its little white houses and happy, loving families ("Mornin' Sun"). The town could be anywhere; many names are mentioned.
Scene I – Real life in suburbia contrasts greatly with what the Trio has painted. Sam and Dinah are having breakfast, alternating between habitual bickering and lyrical moments of longing for kindness. Dinah is angry with Sam. She accuses him of having an affair with his secretary, which he denies ("the subject is closed"). She also reminds Sam that their son Junior's play is that afternoon, but Sam insists that his handball tournament at the gym is more important, to which she retorts, "to hell with the gym".
She needs more money to pay for her analyst, who Sam calls an "out-and-out fake". Dinah says Sam should go too, which suggestion Sam pays no attention to. They agree that this is not the way to live, and they will have a conversation about their relationship problems in the evening. They both ask each other for kindness, ask the other for help "to love you again" and pray that the wall built up between them can be broken down. They continue to argue until Sam leaves for the office, late for his train.
Scene II – Sam, at work, exuding confidence, is dealing with business on the telephone. He turns down the curiously-named Mr. Partridge, presumably for a loan. The chorus calls him a genius, "you marvelous man". "When it comes to the dollar, no one touches marvelous Sam."
But then comes a call from "Bill", who he is glad to lend money to: "you'll return it whenever you want to... Is it sufficient?" Coincidentally, Bill is also participating in the handball tournament with Sam. The chorus observes that "when it comes to the giving, no one touches big-hearted Sam".
Scene III – In her analyst's office, Dinah recalls a dream ("I was standing in a garden").
I was standing in a garden, a garden gone to seed, choked with every kind of weed. There were twisted trees around me, all black against the sky, black, and bare, and dead, and dry. My father called, come out of this place, I wanted to go, but there was no way, no sign, no path to show me the way. Then another voice was calling, it barely could be heard. I remember every word: "There is a garden, come with me, come with me. A shining garden, come and see, come and see. There love will teach us harmony and grace, harmony and grace. Then love will lead us to a quiet place."
Meanwhile, at Sam's office, he asks his secretary if he ever made a pass at her. When reminded of an incident, he insists, in a menacing way, that it was an accident and that she should forget that it ever happened.
Scene IV – Sam and Dinah accidentally run into each other on the street. Rather than having lunch with each other, they both make up lies about imaginary commitments to lunch with others. They continue to sing on the stage (though not to each other), reflecting on the confusing and painful course their relationship has taken, and yearn for their lost happiness.
Interlude – Inside the house, the Trio sings of lovely life in Suburbia, detailing the possessions that contribute to the American dream.
Scene V – At the gym, Sam has just won the handball tournament. He sings triumphantly about the nature of men ("There's a law") — how some try with all their might to rise to the top, but will never win; while others, like him, are born winners and will always succeed. "Men are created unequal."
Scene VI – In a hat shop, Dinah tells an unidentified person about a South Sea romance movie called "Trouble in Tahiti", which she has just spent the afternoon watching. (Later, we learn that she has missed Junior's play.) At first she dismisses the movie as Technicolor drivel. But as she recounts the story (What a movie!") and its theme song "Island Magic", backed by the Trio, she gets caught up in the escapist fantasy of love. Suddenly self-conscious, she stops herself, as she has to prepare dinner for Sam.
Scene VII – About to enter his home, Sam sings of another law of men — that even the winner must pay "through the nose" for what he gets.
The Trio sings of imaginary evenings of domestic bliss in Suburbia: "bringing the loved ones together, safe by the warmth of the firelight". After dinner, Dinah is knitting and Sam is reading the paper. Sam decides the time has come for their talk, and Dinah, after asking what he wants to talk about, agrees: "anything you say". Yet Sam can't talk; he doesn't know where to begin. He blames Dinah for interruptions, but she has not said anything.
"It's no use", he says. In the only spoken dialogue in the opera, Sam asks Dinah about Junior's play; she didn't go either. He suggests they go to the movies, to see a new film about Tahiti; Dinah consents. ("Sure, why not? Anything.") As they leave, they each long for quiet and communion, wondering if it's possible to rediscover their love for one another. For now, they opt for the "bought-and-paid-for magic" of the silver screen. The Trio makes its final ironic comment, reprising the movie's "Island Magic" theme song.
Prelude – A smiling jazz trio sings of perfect life in an affluent, unnamed suburban town, with its little white houses and happy, loving families ("Mornin' Sun"). The town could be anywhere; many names are mentioned.
Scene I – Real life in suburbia contrasts greatly with what the Trio has painted. Sam and Dinah are having breakfast, alternating between habitual bickering and lyrical moments of longing for kindness. Dinah is angry with Sam. She accuses him of having an affair with his secretary, which he denies ("the subject is closed"). She also reminds Sam that their son Junior's play is that afternoon, but Sam insists that his handball tournament at the gym is more important, to which she retorts, "to hell with the gym".
She needs more money to pay for her analyst, who Sam calls an "out-and-out fake". Dinah says Sam should go too, which suggestion Sam pays no attention to. They agree that this is not the way to live, and they will have a conversation about their relationship problems in the evening. They both ask each other for kindness, ask the other for help "to love you again" and pray that the wall built up between them can be broken down. They continue to argue until Sam leaves for the office, late for his train.
Scene II – Sam, at work, exuding confidence, is dealing with business on the telephone. He turns down the curiously-named Mr. Partridge, presumably for a loan. The chorus calls him a genius, "you marvelous man". "When it comes to the dollar, no one touches marvelous Sam."
But then comes a call from "Bill", who he is glad to lend money to: "you'll return it whenever you want to... Is it sufficient?" Coincidentally, Bill is also participating in the handball tournament with Sam. The chorus observes that "when it comes to the giving, no one touches big-hearted Sam".
Scene III – In her analyst's office, Dinah recalls a dream ("I was standing in a garden").
I was standing in a garden, a garden gone to seed, choked with every kind of weed. There were twisted trees around me, all black against the sky, black, and bare, and dead, and dry. My father called, come out of this place, I wanted to go, but there was no way, no sign, no path to show me the way. Then another voice was calling, it barely could be heard. I remember every word: "There is a garden, come with me, come with me. A shining garden, come and see, come and see. There love will teach us harmony and grace, harmony and grace. Then love will lead us to a quiet place."
Meanwhile, at Sam's office, he asks his secretary if he ever made a pass at her. When reminded of an incident, he insists, in a menacing way, that it was an accident and that she should forget that it ever happened.
Scene IV – Sam and Dinah accidentally run into each other on the street. Rather than having lunch with each other, they both make up lies about imaginary commitments to lunch with others. They continue to sing on the stage (though not to each other), reflecting on the confusing and painful course their relationship has taken, and yearn for their lost happiness.
Interlude – Inside the house, the Trio sings of lovely life in Suburbia, detailing the possessions that contribute to the American dream.
Scene V – At the gym, Sam has just won the handball tournament. He sings triumphantly about the nature of men ("There's a law") — how some try with all their might to rise to the top, but will never win; while others, like him, are born winners and will always succeed. "Men are created unequal."
Scene VI – In a hat shop, Dinah tells an unidentified person about a South Sea romance movie called "Trouble in Tahiti", which she has just spent the afternoon watching. (Later, we learn that she has missed Junior's play.) At first she dismisses the movie as Technicolor drivel. But as she recounts the story (What a movie!") and its theme song "Island Magic", backed by the Trio, she gets caught up in the escapist fantasy of love. Suddenly self-conscious, she stops herself, as she has to prepare dinner for Sam.
Scene VII – About to enter his home, Sam sings of another law of men — that even the winner must pay "through the nose" for what he gets.
The Trio sings of imaginary evenings of domestic bliss in Suburbia: "bringing the loved ones together, safe by the warmth of the firelight". After dinner, Dinah is knitting and Sam is reading the paper. Sam decides the time has come for their talk, and Dinah, after asking what he wants to talk about, agrees: "anything you say". Yet Sam can't talk; he doesn't know where to begin. He blames Dinah for interruptions, but she has not said anything.
"It's no use", he says. In the only spoken dialogue in the opera, Sam asks Dinah about Junior's play; she didn't go either. He suggests they go to the movies, to see a new film about Tahiti; Dinah consents. ("Sure, why not? Anything.") As they leave, they each long for quiet and communion, wondering if it's possible to rediscover their love for one another. For now, they opt for the "bought-and-paid-for magic" of the silver screen. The Trio makes its final ironic comment, reprising the movie's "Island Magic" theme song.
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ABOUT
Opera Theatre of the Rockies is a 501c3 non-profit organization committed to the advancement of opera in Southern Colorado through performance, education, and training. |
PERFORMANCE GOAL
Opera Theatre of the Rockies will produce and present exciting and memorable professional opera that spotlights Colorado artists. |
EDUCATION GOAL
Opera Theatre of the Rockies will enhance awareness, knowledge and appreciation of opera in Southern Colorado. |
TRAINING GOAL
Opera Theatre of the Rockies will provide professional training and performance opportunities for emerging artists. |
PARTNERS
Bee Vradenburg Foundation, The Carma Fund of the Pikes Peak Community Foundation, Colorado College Cultural Attractions Fund, Colorado College Music Department, Colorado Creative Industries, Cowan-Fouts Foundation – Robert & Jenny Cowan, Denver Lyric Opera Guild, Dr. Susan Rae Jensen & Tom Trainer, El Pomar Foundation, The Hester E. and Edwin W. Giddings Foundation, Inasmuch Foundation, KCME – Jazz 93.5 FM, The Mining Exchange a Wyndham Grand Hotel & Spa, National Endowment for the Arts, Pikes Peak Opera League, Virginia Snow, Visit Colorado Springs, Webb Family of the Pikes Peak Community Foundation, Wells Fargo Private Bank – The Tiemens Foundation, and the Adventure Culture Fund.
Bee Vradenburg Foundation, The Carma Fund of the Pikes Peak Community Foundation, Colorado College Cultural Attractions Fund, Colorado College Music Department, Colorado Creative Industries, Cowan-Fouts Foundation – Robert & Jenny Cowan, Denver Lyric Opera Guild, Dr. Susan Rae Jensen & Tom Trainer, El Pomar Foundation, The Hester E. and Edwin W. Giddings Foundation, Inasmuch Foundation, KCME – Jazz 93.5 FM, The Mining Exchange a Wyndham Grand Hotel & Spa, National Endowment for the Arts, Pikes Peak Opera League, Virginia Snow, Visit Colorado Springs, Webb Family of the Pikes Peak Community Foundation, Wells Fargo Private Bank – The Tiemens Foundation, and the Adventure Culture Fund.
The WOW project is underwritten by The Adventure Culture Fund.
