Lehar's "Cloclo" by Chicago Folks Operetta

The role of a critic, as I understand it, is to highlight choices made and provide commentary. In the case of the Chicago Folks Operetta's new production of the Franz Lehar rarity, "Cloclo," the choice of the show itself is based on the company's raison d'etre: the development and production of classical operettas from 100 years ago or so. With new English translations of operettas rarely if ever seen in Chicagoland, the company is well on its way to filling a niche and educating its singers and audiences.

Opera, operetta, musical theater: call it what you will, a show with music or music with acting, they are variations on a theme. The minutiae of the differences is such stuff as dissertations are made of, and vive la difference! In short, however, there's a lot more talking than singing in musical theater, so the Chicago Folks Operetta's latest offering may well be viewed as a musical. Composed some twenty years after his most famous operetta, "The Merry Widow," composer Lehar stretched the genre by including popular dance forms of his day. "Cloclo" is an even fluffier bit of farce set to Lehar's usual gorgeous melodies in waltz, tango, and even fox-trot rhythms. Unlike grander opera (which rarely requires much dancing of the leading characters, Salome being an exception), the performers of this genre must be able to sing, dance, and act their parts-- the fabled Triple Threat.


If the performers must be so talented, thus must be the director too. Good news: E. Loren Meeker, the director of "Cloclo," has choreographed, assisted, and directed at very big name places in the U.S. opera world, including the Chicago Lyric Opera. She knows what to do and does it well. "Cloclo" is one of the better directed shows I have seen in musical Chicago: excellent use of space, movement with music, rich characterizations and established relationships. That all seems like basic pre-requisites for any show-- particularly one with music-- and yet, sadly, some directors base their approach on a single abstract "concept" or visual idea. Style is a wonderful thing, but the above-mentioned basics MUST be in place in order for the audience to experience the full richness of a production. Meeker may be the return-to-basics revolutionary the opera/musical world has been waiting for!

"Cloclo," like most musical comedies, is a farce. The title character, a dancer with a coterie of suitors, flees Parisian entanglements, spends Act Two in a provincial city and Act Three in jail before all ends well. She is most sympathetically portrayed by soprano Amanda Horvath, who spends much of the show in peignoirs; fortunately, her legs are more than seaworthy, as is her voice, diction, and style. She employs her comedic timing in the same style as the wise-cracking leading ladies of the cinema in the 1930's.

The costar of "Cloclo" is the character Severin, the mayor of the Provincial city of Act Two and Cloclo's financial backer, whom she refers to as "Papa." Matthew Carroll gets quite a lot of musical numbers and executes them gamely.

Playing the mayor's wife, Melissa Treinkman sings very well and nicely portrays a role meant to be played by someone twenty years older. She gives much to the bearing of a dotty "old" gal of 50 or so, but it is disconcerting casting. (Alas, the travails of the lower-voiced singers!)

While very enjoyable indeed, no one tune or other stands out as hummable the next morning to this listener. Lehar gives us the usual waltzes, an obligatory folk tune, a men's chorus suitable for a can-can, and loads of other sweet melodies. Absolutely every one of these doubles in enjoyment thanks to the translation work of Hersh Glagov and Gerald Frantzen. Clever and witty dialogue includes a few familiar references even to Bernard Madoff and AIG.

The chamber ensemble of nine musicians led from the piano by Marta Johnson accompanied the singers rather well-- particularly given that the orchestra was behind the singers. Ms. Johnson's resume, while terse, may be understated. She certainly had the precise approach to each genre of song. With running time near three hours, a few more judicious cuts may be recommended, though.

I confess to having only seen one other show (see below) by the CFO. "Cloclo" is an offering worthy of praise. The production values (sets, costumes, props, venue) have climbed from homespun to more than passable. The direction surpasses many a more lavish show I've seen. The singing may not be all Lyric level, but Lyric Chorus level is fine enough. The CFO should be proud of itself for its goals and accomplishments. One critic is uplifted, educated, and looking forward to more soon.

two operas in two nights

Friday night Porgy and Bess at the Lyric, Saturday night Peter and Paul in the Land of Nod in Oak Park.

And how different were they? Well, neither Gershwin nor Lehar could write a dull melody if he tried, for one. For two, these are not the normal opera-going fare of the usual devotees. Musically important both, although to vastly varying degrees, neither of the performances met my preconceptions. I expected much less locally but was richly rewarded; slight disappointment met me downtown instead.

Porgy and Bess seems so unlikely a story, much less an opera: Poor, black, rural, and a protagonist with a disability. Big hit on Broadway, then Mr. Gershwin makes it into the great American opera, full of sensuous jazz , wow! The Lyric's production featured some fine talent (Bess) and some medium talent (oh, ask me later). The audience was excited throughout. Besides all the big hits ("Summertime," "I Got Plenty of Nuthin," etc.), the story seems accessible because of the setting and the cultural immediacy. The disappointment then? A merely serviceable production, pedestrian conducting, much irregular singing. A friend in the chorus told me that every African-American classical singer in town was recruited for the chorus; the chorus was fine, indeed, but not all of the soloists, alas.

Peter und Paul schlafen ins Schlaraffenland on the other hand is one of many Lehar operettas overshadowed by his greatest triumph, The Merry Widow. Not all things lesser known are meant to come out of hiding (all you oldies, think 'B' side of 45's!), but the Chicago Folks Operetta is creating its own niche. It's small, it's local, and very homespun. And yet, and yet. The 15-piece orchestral ensemble played precisely together. The solo singing of Lyric Chorus regulars was admirable. The inclusion of a ballet and children's chorus all but guaranteed many parents, friends, and relatives in the audience.

Clearly expectations play a big part in audience appreciation. I accept that. The marketing departments rely on it: know your target audience and the genre of your show. As Joe Audience Goer, one would be well served by some background information about the show as well as the company. While surprises delight and stretch us, the best beginner experience would probably not be either of the two shows I have just appreciated. Ask me for recommendations, you newbies...