This past weekend, the Long Beach Opera (LBO) premiered its co-commissioned opera The Invention of Morel, composed by Stewart Copeland,
co-founder and drummer of The Police, with an English libretto by the
London-based actor, director and playwright Jonathan Moore, who also
directs the production. I had written about this production on Huffington Post when it debuted in Chicago.
The Invention of Morel is a music theater adaptation of the 1940 novella by Adolfo Bioy Casares. Casares’ book is widely considered the first literary work of magical realism, predating the kindred fiction of Jorge Luis Borges, Gabriel Garcia Marquez, and others. It features a character named Faustine who was inspired by the author’s affection for Louise Brooks. Casares said as much in interviews in later years. Those facts are seemingly not lost on the designers of the opera, who have modeled their Faustine character after Brooks’ appearance, especially her signature bob hairstyle. [Take note of the bouquet to Brooks on the Long Beach Opera website.]
Though not as well known as it should be, The Invention of Morel has had a unique, lingering resonance throughout the late 20th and early 21st centuries. Casares’ book was made into a French movie called L’invention de Morel (1967), and an Italian movie called L’invenzione di Morel (1974). It is also believed to have inspired the Alain Resnais’ film Last Year At Marienbad (1961), which was adopted for the screen by the French novelist Alain Robbe-Grillet. Brooks herself ended up on the cover of a recent edition of Casares’ book (due to the efforts of the Louise Brooks Society), which in turn was given a shout-out on the television series Lost (2004 – 2010).
Reviews for the Long Beach opera production were glowing, and each and everyone of them mentioned Louise Brooks.
Ginell, Richard S. "Long Beach Opera raises life's questions, loudly, in Stewart Copeland's Invention of Morel." Los Angeles Times, March 19, 2018.
-- "The piece is based on the novel "La Invención de Morel" by Adolfo Bioy Casares, and there is an autobiographical element in that the unrequited love element of the piece was inspired by Bioy Casares' crush on film star Louise Brooks.
Farber, Jim. "Long Beach Opera’s Invention of Morel offers a fascinating journey." Long Beach Press-Telegram, March 20, 2018.
-- "Considered a classic example of Latin American “magical realism” (in the tradition of Jorge Luis Borges), the novella describes the plight of a political fugitive who finds himself cast away on a tropical island. Seemingly alone, he discovers a mysterious building, an abandoned museum, and in its substructure an immense, even more mysterious, machine. Then, as if they had materialized out of thin air from the 1920s, an elegant group of tuxedo-clad gentlemen and willowy flappers appear. One, who bears a striking resemblance to the silent film star, Louise Brooks, instantly becomes the castaway’s obsession. But every time he sees her, she reacts as if he does not exist."
Gordon, Eric A. "The Invention of Morel: A new operatic sci-fi take on eternal life." People's World, March 23, 2018.
-- "The ensemble reminded me of the cast of the Twenties-set The Wild Party. Soon the Fugitive becomes infatuated with an elusive woman from their group named Faustine (Jamie Chamberlin), who resembles the Silent Era’s vixen movie diva Louise Brooks, on whom Casares late in life admitted he had a crush. Yes, the name Faustine is purposely meant to evoke the Faust legend, for this weird encounter will indeed lead to a kind of eternal but, all things considered, perhaps not so unpleasant fate."
Wyszpolski, Bondo. "Seeking eternal love at Long Beach Opera." EasyReader News, March 23, 2018.
-- "The Fugitive spies on the week long day trippers, but they seem to have no interest in him, even when he develops an infatuation for the Louise Brooks-lookalike Faustine (Jamie Chamberlin). In fact, even when he approaches her she seems to ignore him and/or to pretend he’s not there."
The Invention of Morel is a music theater adaptation of the 1940 novella by Adolfo Bioy Casares. Casares’ book is widely considered the first literary work of magical realism, predating the kindred fiction of Jorge Luis Borges, Gabriel Garcia Marquez, and others. It features a character named Faustine who was inspired by the author’s affection for Louise Brooks. Casares said as much in interviews in later years. Those facts are seemingly not lost on the designers of the opera, who have modeled their Faustine character after Brooks’ appearance, especially her signature bob hairstyle. [Take note of the bouquet to Brooks on the Long Beach Opera website.]
Though not as well known as it should be, The Invention of Morel has had a unique, lingering resonance throughout the late 20th and early 21st centuries. Casares’ book was made into a French movie called L’invention de Morel (1967), and an Italian movie called L’invenzione di Morel (1974). It is also believed to have inspired the Alain Resnais’ film Last Year At Marienbad (1961), which was adopted for the screen by the French novelist Alain Robbe-Grillet. Brooks herself ended up on the cover of a recent edition of Casares’ book (due to the efforts of the Louise Brooks Society), which in turn was given a shout-out on the television series Lost (2004 – 2010).
Reviews for the Long Beach opera production were glowing, and each and everyone of them mentioned Louise Brooks.
Ginell, Richard S. "Long Beach Opera raises life's questions, loudly, in Stewart Copeland's Invention of Morel." Los Angeles Times, March 19, 2018.
-- "The piece is based on the novel "La Invención de Morel" by Adolfo Bioy Casares, and there is an autobiographical element in that the unrequited love element of the piece was inspired by Bioy Casares' crush on film star Louise Brooks.
Farber, Jim. "Long Beach Opera’s Invention of Morel offers a fascinating journey." Long Beach Press-Telegram, March 20, 2018.
-- "Considered a classic example of Latin American “magical realism” (in the tradition of Jorge Luis Borges), the novella describes the plight of a political fugitive who finds himself cast away on a tropical island. Seemingly alone, he discovers a mysterious building, an abandoned museum, and in its substructure an immense, even more mysterious, machine. Then, as if they had materialized out of thin air from the 1920s, an elegant group of tuxedo-clad gentlemen and willowy flappers appear. One, who bears a striking resemblance to the silent film star, Louise Brooks, instantly becomes the castaway’s obsession. But every time he sees her, she reacts as if he does not exist."
Gordon, Eric A. "The Invention of Morel: A new operatic sci-fi take on eternal life." People's World, March 23, 2018.
-- "The ensemble reminded me of the cast of the Twenties-set The Wild Party. Soon the Fugitive becomes infatuated with an elusive woman from their group named Faustine (Jamie Chamberlin), who resembles the Silent Era’s vixen movie diva Louise Brooks, on whom Casares late in life admitted he had a crush. Yes, the name Faustine is purposely meant to evoke the Faust legend, for this weird encounter will indeed lead to a kind of eternal but, all things considered, perhaps not so unpleasant fate."
Wyszpolski, Bondo. "Seeking eternal love at Long Beach Opera." EasyReader News, March 23, 2018.
-- "The Fugitive spies on the week long day trippers, but they seem to have no interest in him, even when he develops an infatuation for the Louise Brooks-lookalike Faustine (Jamie Chamberlin). In fact, even when he approaches her she seems to ignore him and/or to pretend he’s not there."
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| Nathan Granner as Morel and Jamie Chamberlin as Faustine. Photo by Kip Polakoff |
1 comment:
A late review
"CURTAIN'S UP: Mystery, Invention Drives New Opera"
http://www.gazettes.com/entertainment/arts/reviews/curtain-s-up-mystery-invention-drives-new-opera/article_c10773a8-3114-11e8-a82a-7bb536c230cc.html
"Among them is the beautiful actress Faustine, a character clearly inspired by 1920s-’30s movie star Louise Brooks."
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