This story was originally published by ArtsATL.
Bold intentions do not always make for a good show, and though Adam B. Levowitz’s original rock adaptation of ”Mozart’s Don Giovanni — a rock opera” has ambition, there’s much work to be done for this opera to truly soar. The Maxam Productions staging, which runs through April 21 at 7 Stages, takes Mozart’s score and libretto and replaces the orchestra with a five-man rock band. While Levowitz has done a stellar job with the orchestrations, the lyrics and staging feel disjointed and lacking in intensity.
Levowitz has wisely cut the libretto down from its original three-hour form into an hour-and-a-half. Still, you can feel the minutes ticking by, as many of the cuts rob the story of momentum as well as some finer comedic moments. The story follows Don Giovanni, a womanizer and libertine who accrues several enemies as the result of his sexual conquests.
The original story depicts Giovanni as much more overtly predatory than Levowitz’s version — here, he lies to women to seduce them rather than assaulting them. This change is appreciated, but it requires Levowitz to cut out large chunks of the story (including two side characters), which disrupts the pacing and leaves certain character arcs unintelligible.
For example, without the connective tissue provided by Giovanni’s seduction of Zerlina, Donna Elvira’s feelings toward him seem to oscillate wildly, with no rhyme or reason. The circumstances around Don Giovanni’s murder of the Commendatore are also unclear, which makes it confusing when Donna Anna doesn’t recognize him the next time she sees him.
Another thing that has been lost in translation is the propulsive nature of the lyrics, which Levowitz has translated into English. There are one or two moments of recitation where the score catches fire, and they are much appreciated, but many of the recitative passages bring the pacing to a crawl. The arias are more impressive, particularly Donna Anna’s, where she reflects on how her rage and bitterness led her astray. Also, Donna Elvira’s introductory song, where she vengefully promises to castrate Don Giovanni for abandoning her, is genuinely hilarious.
Credit: Photo by Joshua McCarty
Credit: Photo by Joshua McCarty
Of course, not all of the lyrics are translated directly from the original — Levowitz has taken some artistic liberties, most of which are interesting but need to be threaded throughout more intentionally. For example, the libretto at times adopts a metatheatrical sensibility, commenting on common opera tropes (“I’m going to go hide in a closet because this is an opera”). However, it’s unclear if these are just beats played for comedy or if Levowitz is actually aiming for self-aware, meta commentary on the nature of opera.
Interestingly, all of these meta moments come from Leporello, raising the question of whether he is the only character aware that he is in an opera — this, too, could be a rewarding choice if Levowitz commits to it further.
None of the faults of the libretto fall on the cast, most of whom are above reproach. The vocals are thrilling across the board, and the actors are well-suited to their roles. Marcus Hopkins-Turner is every inch the swaggering lothario as Don Giovanni, with a golden baritone voice to match. Rob Millerick is a comedic highlight as Leporello, Giovanni’s long-suffering servant, bringing a delightfully deadpan delivery to the character. Savannah Bracewell sings beautifully as Donna Elvira, and Caitlyn Walters imbues Donna Anna with an appropriately unhinged energy, though she at times lacks the full-bodied sound needed to compete with the orchestrations.
Just a couple of technical notes — as someone with an auditory processing delay, I always appreciate the use of subtitles. For that same reason, it bothers me when the subtitles are so blatantly and frequently incorrect; make no mistake, that is an accessibility issue. Also, I assume that Levowitz was unaware that one of his passages features a racial slur (I won’t use the word, but think of the musical where Mama Rose yells “Sing out, Louise!”) and fleeting but offensive stereotypes of Romani people.
Still, there is promise here. It’s clear this is a passion project for Levowitz, and his musical instincts are keen. I would be interested to see what more could be done with a larger budget and greater creative support. If nothing else, it is a sonic tour de force featuring top-rated musicians and vocalists, and that alone is worth supporting.
The production is set to return to 7 Stages in September, and I am hopeful Levowitz can make improvements so the show can reach its potential.
THEATER REVIEW
“Mozart’s Don Giovanni — a rock opera”
Presented by Maxam Productions through April 21 at 7 Stages. 7:30 p.m. April 19-20, 3 p.m. April 21. $27-$42. Live stream also available for April 19 performance, $12. 1105 Euclid Ave. NE, Atlanta. 404-523-7647, 7stages.org
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Luke Evans is an Atlanta-based writer, critic and dramaturg. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.
Credit: ArtsATL
Credit: ArtsATL
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