In these times of economic uncertainty and Recession, a music festival that keeps its doors open, even in big cities, is worth a second look. How about a summer opera festival only in its ninth season, nestled in the cornfields of central Illinois, where everyone’s favorite baritone is Dwight Yoakam?
And what’s more, the General and Artistic Director is Watseka's homegrown soprano Helen Todd, busy mother of two young children. Helen is enjoyed by audiences around the country but utterly adored by the locals. Yet, while she has appeared in some productions here, this is no vanity company. Helen has cast and produced this and last year’s summer operas without singing in them herself. Her public is exercising their patience, expanding their horizons as they hear new singers. They may have heard the rumors that in rehearsal a few years back Helen actually fainted, finding sleep and meals impossible to fit in amidst practice, fund-raising, and board meetings. She wasn’t just being operatic; she really hit the ground. This is one dedicated dame.
Still further, while other companies are trimming their seasons, Helen has added a competitive apprentice program, nurturing young singers with invaluable training and performance opportunities. There are now two operas a season, at least one big concert, and additional performances.
Sugar Creek Symphony and Song (soon to be renamed Sugar Creek Festival) is based in Helen’s hometown of Watseka, two hours south of Chicago. The population is around 7000. There is a Wal Mart, and the local hangout is Promises Café, which doubles as a Christian bookstore. You have to drive one hour to get to a Starbuck’s.
Helen took a chance casting me as Marie, the title role in La Fille du Régiment (the Daughter of the Regiment), as I hadn't appeared in an opera since the birth of my second son, and that one (The Tender Land) had only been semi-staged. I remained active singing concerts (orchestra, chamber music, and stuff like this performance on a barge,) but things are a bit different when you start involving the feet, heavy costumes, wigs, makeup, the need to conjure up old cheerleading moves from high school, all while striving constantly for that pear-shaped tone. And the role of Marie is no walk in the park.
The only reason that I can feel safe writing a review (if you will) of my experience in this production is that I enjoyed the all too rare company of a team and cast who were outstanding across the board.
Marie’s counterparts are the love interest Tonio (sung by Javier Abreu), her supposed long-lost aunt, the Marquise of Berkenfeld (Cindy Sadler), and her adopted father, the regiment commander Sulpice (Matthew Lau).
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| photo by George Kwain |
Javier Abreu was making his Tonio debut here, but I’m confident he will sing this role all over the world. He has it all – a glorious, ringing tenor, easy (more than nine!) high Cs, impressive flexibility and legato. He is cute as a button and charming in the role. Who wouldn’t want to kiss him?
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| "Quoi? Vous m'aimez?" Javier Abreu and Courtenay Budd photo by Daren Stahl |
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| "De cet'avreu si tendre" Javier Abreu and Courtenay Budd photo by George Kwain |
Cindy Sadler wowed me every time she took the stage. And take it she did! With her burnished, powerful mezzo, she sailed in her opening aria from a low to high E flat (meaning, of course, that she could sing any role in the show, which is also true of Javier). She has natural comic timing and formidable stage presence. When Javier sang his (gorgeous) “Pour me rapprocher de Marie,” her expression changed from stern to sympathetic, as she seemed to recollect the lost love of her youth. There was a wonderful shift from her matriarchal domineering during antics of the lesson scene to the motherly warmth I saw when she looked at me at the end of the show, conceding that Tonio and Marie could marry.
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| Cindy Sadler and Apprentice Ladies photo by Daren Stahl |
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| Cindy Sadler and Sepp Hammer photo by George Kwain |
Helen had warned me that Cindy could steal away a scene before I could say, “cherry pie” (served up fresh in the lobby at intermission), but that I should be prepared for the same challenge with Matthew Lau.
He did indeed turn out to be almost more than I could handle, except for the fact that he is the most congenial and supportive colleague imaginable. Matthew’s impressive bass voice, stage savvy, consistent professionalism, and easy-going, lovable manner made it easy to see why everyone in this business has worked with him, and if not, is sorry. I was directed to hug him several times throughout the show, and was always more than happy to oblige. Daily I check my mail for the video, eager to see the ballet moves he was performing behind me during the lesson scene. And I have to confess to his having robbed me of my straight face a few times, Carol Burnette Show-style.
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| Courtenay Budd and Matthew Lau photo by Daren Stahl |
The ballet moves, cheerleading lifts, and ample marching and saluting were well managed by our inventive and patient Stage Director Jonathon Field. Helen had seen his production of Fille elsewhere, and warned us we should eat our Wheaties. He had us jumping, climbing, tossing, and twirling rifles a la ZZ Top. And in a photo shoot he talked me into hanging upside down from a tree branch about 8 feet above a brick walkway. Here’s a shot (with Matthew Lau):
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| photo by Carla Cox Waters |
Staging the entire opera in a few short days meant everyone had to concentrate extra hard, and Jonathon was the picture of grace when fatigue set in and tempers grew short. It was an added bonus that he stuck around to give us moral support for both performances.
Jonathon’s amiability was matched by the dry humor and collaborative spirit of our conductor Joseph Mechavich, who more than once had everyone’s jaws on the floor before he revealed that he was “just kidding.” Operatic sighs of relief all around. Joe (not the Maestro type) is a true singers’ conductor, supportive and sympathetic to breath control needs and our various other whims and wishes. He is adept at holding singers and orchestra together and communicating in an encouraging way. He was instructive in how to relax into a new tempo, working within and against the parameters of the music. Most importantly, while I believe Donizetti is not Joes’ favorite drink, he helped us have a great time with the music. And, like Jonathon and the rest of the team, reminded us that this show is all about fun. His words to me on opening night were, “Let’s make ‘em smile.”
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| Joe Mechavich photo by Daren Stahl |
We were spoiled with baritone Sepp Hammer in the role of stuffy Hortensius (also Father March in Sugar Creek’s other opera, Mark Adamo’s Little Women). Our regiment was made up of fantastic, enthusiastic apprentices and a few local stars – Drs. Neal Woodruff (who also earns a rave review for hospitality – driving four hours round trip to gather my family in Chicago) and Phil Hayes (Javier’s and my entertaining ride from the airport).
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| Drs. Phil Hayes and Neal Woodruff dressed to kill |
The apprentice women were as fun and talented as the men, including my able cover Sarah Hop, and several of the leads from Little Women. I was only able to catch the first half of LW’s dress rehearsal, but enjoyed it immensely. The music and stage activity were in expert hands with conductor Bruce Stasnya (also chorus master for our show) and director Scott Parry. Julie Ann Miller was a musically elegant and touching Jo, Kyle Stegall has a attractive light tenor and stage demeanor for Laurie, Leila Bowie portrayed Beth so well I forgot she was Leila, Megan Elk split a rib as Aunt March, Christina Rivera was a sparkly Amy (and sings very well on this Youtube video straight from Promises Cafe), Julia Snowden was a lovely Meg, and Caitlin Felsman sang Mother March with tenderness. DaRell Haynes (John Brooke) has one of those voices I’ll look forward to hearing in a few years – especially as he moves up to Tenor Land soon.
Our stage energy benefited from bottom-filled seats, thanks to the tireless and innovative publicity efforts of Marsha Walker. Marsha amazed us all by making these Youtube videos in an afternoon using her tiny phone camera.
Melanie Steele of Steele Beauty provided Marie and the Marquise with beautiful wigs. We would have been hopeless with our own hair. Many thanks to Melanie for the wigs, and to Cindy for getting them onto my (large) head!
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| Courtenay Budd and Cindy Sadler in candid Sadler shot |
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| photo by Daren Stahl |
An opera review can only be trusted by someone who hears the voices from the house. I was able to steal into the audience during our dress rehearsals. The one voice I cannot review is, of course, that of Yours Truly, but I can share my experience. This review begins what may become a regular blog, and on a future entry perhaps I’ll share more on my time with Sugar Creek, which was personally challenging and immensely satisfying. I have the entire team to thank for that.
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| Courtenay Budd and Helen Todd shot with Courtenay's phone |
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| Matthew Lau and Helen Todd (Stahl photo) |
Years ago Helen sang the Queen of the Night to my Pamina in Central City. I remember her striking fear into my heart with one blazing look from those immense eyes. I have long known her as brave, even fierce, in performance and professional drive, and yet an excellent colleague, personally relaxed, congenial, witty, and kind. Helen exemplifies Midwestern work ethic, puts her family first, and is an exceptionally generous friend. I gained a little insight into the making of Helen while enjoying fried chicken in a truck stop with her mother Barbara, a petite lady with nothing small about her faith, positive attitude, or humor. Barbara Todd speaks quietly but with a quick wit, and her face shines with gratitude. (And now I know where Helen gets those eyes). Despite considerable health concerns, she continues to play piano for her church, and to champion Sugar Creek Festival, driving her PT Cruiser around town with an ad printed on the door. And she makes the artists feel welcome. When I mentioned my desire to pick corn from the field outside my host’s house, she showed up at rehearsal with a brown bag full of the freshest and most delicious ears I’d ever tasted.
Helen’s mom (and her father, who passed away last summer) have grounded her in a legacy of fortitude, faith, and thankfulness– all facets of a single diamond of character. These virtues spur on her sense of mission – bringing first-class opera to people who may never be exposed to it otherwise, meanwhile stimulating her hometown's economy and nurturing young talent (see their mission statement). Sugar Creek brings over 1000 people to the area each year. And they’re just getting started.
My purpose in writing all this is to reminisce, to say thanks, to encourage you in your own pursuits, and to inspire you to follow Helen's example -- keep going, through hard times, dream big, give back, and don't give up. Plus it’s fun. And therapeutic.
I almost forgot to mention that La Fille du Régiment was my five-year-old son Asa's first opera. He loved it, especially "Toneeyo."
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| Aim high! photo by Daren Stahl. |
Keep your eye on Sugar Creek. Be inspired. And when you make it there next summer, don’t miss the cherry pie at intermission.
