![A scene from Shadowboxer [Photo by Cory Weaver/University of Maryland - College Park]](http://www.operatoday.com/_MG_3045.png)
24 Apr 2010
Shadowboxer — A Tormented Joe Louis
From the Maryland Opera Studio comes a riveting new opera that transforms the life of American boxing legend Joe Louis (“The Brown Bomber”) into an epic tale of human struggle, triumph, and failure.
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Performances
Directed by Leon Major and authored by librettist John Chenault and composer Frank Proto, this work will capture the imagination of opera lovers and sports fans alike.
Shadowboxer tells the story of Joe Louis, the African-American boxing legend who held the heavyweight boxing title from 1937 until 1949. Despite widespread racism in the United States during this period, Louis became a national hero. In his fights against German boxer Max Schmelling in particular, Louis’s life in the ring came to symbolize the larger political struggle between democracy and Nazism that was central to World War II. Thus many Americans tuned in to Louis’s fights in hopes that his victory in the ring could also signal a political and ideological victory for America and the Allies. His story came to symbolize something greater than one man’s journey, and the far-reaching significance of his life was what first captured the imagination of Maryland Opera Studio’s Artistic Director Leon Major.
Ask Major about the genesis of Shadowboxer, and he will inevitably recount his childhood memories of the famous 1938 rematch between Louis and Schmelling, during which Louis scored a knockout in the first round. Thus his fascination with Louis dates back many years. In fact, Major had been toying with the idea of an opera based upon the life of Louis for over two decades before approaching John Chenault and Frank Proto. Their creative collaboration spanned a period of roughly two years, and culminated with a series of performances at the Clarice Smith Performing Arts Center that began on April 17th and runs through April 25th.
Though Shadowboxer is based upon the life of a boxing legend, it is not confined to the boxing ring. Rather, it is a psychological drama that takes place in the landscape of Joe Louis’s mind. During the final moments of his life at his Las Vegas home, an elderly Louis is forced to confront a barrage of vivid and painful memories that become increasingly fragmented and incoherent as death draws near. The opera is a portrait of Louis’s final moments and the nightmarish fantasies that he must grapple with as he reflects upon his trials, triumphs, and failures. Chenault transforms the life of this American hero into a sweeping tale of human struggle, victory and defeat, suffering and joy.
The musical score of Shadowboxer is equally broad in its scope. Frank Proto drew upon his decades of experience as a composer and performer of classical music, jazz, and even Broadway show tunes to create a musical language that is as multifaceted as his musical background. Far from being a stylistic hodgepodge, however, Proto’s score captures the phantasmagoric nature of Louis’s consciousness and is an apt musical counterpart to the drama onstage. Shifting between a dissonant 21st-century idiom and a jazz-infused style that draws inspiration from American popular music of the 1930s and 40s, Proto’s score reflects the sounds of Louis’s heyday as they would be remembered in the murky recesses of the boxer’s deteriorating mind. Under the direction of conductor Timothy Long, the singers and instrumentalists of the University of Maryland give a compelling performance of Proto’s imaginative score.
The opera’s intriguing storyline and music should be enough to arouse curiosity in most music and sports lovers, but for those who are still not inspired to swing by the Clarice Smith Performing Arts Center this weekend, Major’s staging of the production should provide further incentive. Major does not simply approach Shadowboxer using a traditional arsenal of production tools. Rather, he considers how the cinematic and visual “literacy” of today’s audience members make them particularly receptive to the use of multimedia technologies in the performing arts, and he incorporates those technologies with a discerning eye. Multimedia designers Kirby Malone and Gail Scott White join forces with scenic designer Erhard Rom, lighting designer Nancy Schertler, and costume designer David Roberts to create a synthesis between classic production techniques and modern technologies.
Rom’s deconstructed stage design functions as the ideal backdrop for Schertler’s expressive lighting, which is used to convey the variegated landscape of Joe’s mind. At times, Schertler spatters the stage with dispersed beams of light and shadow, which serve as a visual counterpart to Louis’s fractured memory. During other scenes, she envelops the stage in suffocating ashen shades that — combined with grey costumes and a choir of masked faces––project Louis’s isolation and confusion as he sifts through hazy memories and painful emotions. Especially memorable is the scene in which Louis’s wife Marva sings her heart-wrenching aria “I love the man who isn’t there” immediately after handing her husband divorce papers. Schertler captures the mental anguish of both characters by bathing the stage in an eerie red glow. As Marva sings over martial rhythms played by the orchestra, her towering shadow looms above Louis, a devastating reminder of the torment he caused her by his womanizing lifestyle.
The asymmetric shapes and contoured screens of Rom’s stage design also pair well with the digital projections of Malone and Scott White. Avoiding naturalistic backdrops in favor of expressive abstractions, Malone and Scott White create a living world of action onstage. Their projections function as settings, dreamscapes, and reflections of Louis’s mind. Cloudy images of black and white shadows communicate Louis’s mental confusion and muddled memory, whereas projected details of the boxing ring set the scene, without suggesting a concrete reality. Photographs and newspaper headlines from Louis’s fights in the years leading up to World War II are juxtaposed with scenes of the raging war in Europe, thereby indicating how his victories in the ring were perceived as political and ideological triumphs. In this manner, the projections become characters in their own right, commenting upon the action and communicating the far-reaching implications of Louis’s life in the ring.
Such incorporation of modern technologies in opera is likely to make most traditionalists uneasy, but Malone and Scott White leave no doubt as to their artistic integrity. Their incorporation of new media not only enhances the psychological drama onstage, but also helps to make the production contemporary and relevant to a 21st-century audience.
Finally, we turn our attention to those artists who breathe life into the score and libretto of Shadowboxer, the performers themselves. Composed primarily of singers from the Maryland Opera Studio, this cast of performers includes many vocalists who will likely have successful singing careers upon leaving the University of Maryland. This is certainly true of Jarrod Lee, whose portrayal of old Joe Louis is, without a doubt, the highlight of the show. With a rich baritone voice that seems to glide effortlessly through even the most demanding passages, Lee gives a performance that is both musically refined and poignantly acted. His sensitive portrayal of Louis is the crux of the show’s effectiveness as a psychological drama. University of Maryland faculty member Carmen Balthrop also gives a captivating performance and nearly steals the show with her stirring portrayal of Louis’s mother. Also noteworthy are Adrienne Webster (Marva Trotter, Louis’s wife) and VaShawn McIlwain (Jack Blackburn, Louis’s trainer), whose impressive vocal abilities are matched by their talent for dramatization. Less impressive is Duane Moody’s portrayal of young Joe Louis. Moody does not convincingly project the youthful vigor and tenacity of the heavyweight boxer. Furthermore, his performance emphasizes the boxing champion’s vices, but fails to effectively communicate his dignity and humanity.
In spite of this single shortcoming, Shadowboxer is well worth the trip to College Park, and one can only hope that its premiere at the University of Maryland will inspire future performances. In an era when opera must compete with mass consumerism and digital technologies, it is refreshing to see a new work that merges the performing arts with new media, and that explores timeless themes in more contemporary contexts.
Kate Weber-Petrova
University of Maryland