Susannah
McCullough Theatre, through April 27
2008 has been a signature time for the tragic opera heroine in Austin, with Zach Theatre’s Bess and Austin Lyric Opera’s Carmen. The journey continues at the University of Texas with a gorgeous, maturely realized chamber setting of Carlisle Floyd’s Susannah.
In the opening moments of the Butler Opera Center production, a crowd gathers to anticipate the arrival of a new preacher in a town deep within the Southern American Bible Belt. Set behind a scrim and lit with a fuzzy glow, the scene cleverly evokes the dusty heat of a late summer day. Soon the scrim is lifted, and the audience is invited into the world of Susannah, whom we first see dancing innocently with a group of men under the scornful eyes of the town’s elder women. Carlisle Floyd’s rich, lyrical music sets up the tragic story as a tale of extremes, shifting from the sweet purity that accompanies his lead character to the severity of the townsfolk who come to fear, and ultimately destroy, her innocence.
Floyd’s score, heavily informed by the hymns and folk tunes of his deep Southern roots, is at once sophisticated and accessible. Susannah‘s setting is merely a lens through which the timeless interplay of religion, sexuality, and deceit is examined. Written in 1956, Susannah has peers in the mendacity of Tennessee Williams and the puritanism of Arthur Miller, placing it among the most powerful works to come out of McCarthy-era America.
Susannah is a poor young girl who lives with her brother in a country shack. Sweet and expressive, her character is soon destroyed by allegations of indecency and seduction, which are used by crooked preacher Olin Blitch to whip the townsfolk into a frenzy of religion-soaked slander. The story’s web soon comes to entangle Susannah forever, when Blitch seduces her while her brother, Sam, her sole ally throughout, is away hunting. By the time Sam kills Blitch and flees town, the innocence that Susannah once knew is forever lost.
Susannah is a classic tragedy, and in the hands of director Alan E. Hicks, the production achieves some real magic. Sonja Rainey’s set is among the best yet for a UT production, fully evocative of the pastoral Tennessee valley. The stage is framed by a series of trunks that implies trees or building frames depending on the setting, and as the story oscillates between the increasingly paranoid town and Susannah’s simple country life, the trunks become a symbol of the interplay of truth and lies, moving from straight to crooked along with the story. Much credit is also due Darren E. Levin for the lighting design, which plays a central role in the story’s transition from hopeful to ominous. These elements are mere supporting players, though, to the wonderful ensemble of artists that graces the McCullough stage.
As a whole, the ensemble achieves a strong unity as singers and actors. Phillip D. Hill displays an ominous command as the crooked evangelist Blitch. As Sam Polk, Susannah’s fiery and loyal brother, Daniel Salls connects with the role from the start, making his later descent into despair and murder heart-wrenching.
The demanding role of Susannah is one that requires fine acting skill and a rich vocal palette. At just over 5 feet tall, Icy Simpson channels an authentic, confident grace for a stunning performance. As her world begins to unravel, Susannah sings, “I cain’t wait till pretty things looks pretty agin.” Gazing out from the stage, Simpson owns the words. A particular highlight is the mournful, lonely aria that precedes her seduction by Blitch. Here Simpson gives a tender, controlled performance, granting the audience a window into her broken heart.
In the closing moment of the opera, Susannah sits on her front porch, shotgun in hand, defending her last bit of dignity. This is a powerful and memorable sight. On opening night, the audience stood defiant, fists clenched for their Susannah. This moment was a testament to Hicks, his artists, and ultimately to Simpson, in whose hands Susannah was a triumph. (Note: The production is double-cast. The cast reviewed here performs again on Sunday, April 27.)
This article appears in April 25 • 2008.