Productions for profit

Class discussions today focused on production aspects from the productions we have watched and our own thoughts as to what would constitute not only a fabulous performance but a meaningful one as well. Discussion seemed to focus on the pros and cons of three different performances. The first is the London Symphony Orchestra with Bernstein conducting and Jerry Hadley as Candide and June Anderson as Cunegonde. The staging is by far the most simple as the singers are arranged in an oratorio form, dressed for concert with the chorus standing behind the orchestra. The second production is the Live on Broadway performance with Kristen Chenoweth as Cunegonde and Patti LuPone as the old lady. While the staging is minimal the characters are dressed in costumes and interact with orchestra and chorus. The third produced at Le Chatelet in France is by far the most complexly staged and politically poignant productions. The conversation quickly turned to aspects we liked and disliked with some pointing out that the Broadway version was too optimistic and made its primary focus the too huge stars of the show rather than focusing on the real meat of the story, Candide's loss of innocence and discovery of balance with Cunegonde. Criticism was also given to the Le Chatelet version as it was too pessimistic and political making too many references to modern day politics. I think that all three are valid and enjoyable. They each focus on certain points they want to make a direct attention using the material available through the story. The Broadway version is directed more towards being light entertainment; there's not much to shock the audience or necessarily make them think. Though it could also be said that the Chatelet version is directed to a certain audience with a specific political and world view and therefore doesn't urge them to think as well. There are many themes and ideas that can be brought out of this story. I watched the oratorio styled performance all the way through and learned from it the importance of balance especially in optimism and pessimism (we see this in Pangloss's antithesis) and the importance of continuing to struggle and make a better world in the face of misery and strife. I took away these themes without pretty costumes or cool effects, anything added perhaps directs focus only. For instance, in the oratorio production I particularly enjoyed the scene with the kings singing about the simple life. I was brought to consider the possibility that leaders may show great pomp speaking well and fluently, but they might not have much to say that is really important. This is really emphasized by the king who simply grunts recalling an idea of a cave man king who may seem important to other cave men but looks rather silly to us. The Chatelet version characterizes the kings as important political figures such as Boris Yeltsin, George W. Bush and Tony Blair but dialogue had to be added and various aspects of the original music had to be changed including the exclusion of the cave man saying “ug” only to be included towards the end with Boris Yeltsin taking the part which is doesn't really make as much sense. In the end, it is most important that a production should keep the balance of both the optimistic and pessimistic aspects of the opera. The music and story will take care of itself in maintaining its poignance.