Der Kaiser von Atlantis
The world of Der Kaiser von Atlantis is as bleak a world as has ever been presented on stage. Times already dreary and barren, Kaiser Overall, locked away in his palace, declares a holy war in which every man, woman, and child must fight, all enemies to one another. They are to leave no survivors. Death, indignant, leaves, permitting none to die. The sick and injured linger. In this world, making moments of beauty and hope, gestures of love or kindness or generosity, are acts of rebellion – and clung to desperately as proof of something better still existing in the world.
The production currently up at Manhattan School of Music is simple in scale but powerful. Djordje Nesic conducts a band consisting only of percussion, piano, and keyboard. The set is a prominent flag over a series of risers and a few small items (buckets, cinder blocks, a few other hand props like flashlights and sirens). Everything is used so effectively to create an engulfing and oppressive atmosphere. The stark, dim lighting with sharp shadows combined with director John de los Santos’ evocative staging create a full, heavy environment on stage. The visual storytelling is strong and clear from the opening moments, with Overall in a gasmask lurking at the top of the risers, prisoners in numbered uniforms lumbering painfully around the space, flashing lights creating shadowy light on faces.
All of this without even mentioning the performers. The cast is full of remarkable vocalists, each with a captivating voice and each mesmerizing to watch. As Overall, Gregory Gropper mixes authoritative presence with confused uncertainty, looming over the entire production from his perch. His rich voice is strong and resonant. As Death, Donghoon Kang is world-weary and at the end of his rope, tired and done with being taken for granted. Victoria Magnusson’s Harlekin has a deranged, frayed, and frenetic energy, giving a memorable performance. The pained smile she wears gives off painful desperation. As the Loudspeaker, Brian Linares was intimidating, alongside Morena La Vecchia Galán’s bombastic and enthusiastic Drummer as the other part of Overall’s regime. The physicality behind each character’s movement is also vivid and precise.
Der Kaiser von Atlantis is a powerful one act opera. Manhattan School of Music has put together a raw and gripping production of it that honors the piece’s origins beautifully. It packs so much into such a simple presentation and a tight hour run time, and it manages to leave a strong and lasting impression.
Words4Culture 