Review: The 'Fire' this time

In the introductory essay to her libretto for Fire Shut Up In My Bones, the operatic treatment of the memoir of the same name by New York Times editor and op-ed columnist Charles Blow getting its world premiere at Opera Theatre through June 29th, playwright Kasi Lemmons tells us that the title refers to the Biblical prophet Jeremiah, who described the word of God as "a fire shut up in my bones. I am weary of holding it in; indeed, I cannot." (Jeremiah 20:9, NIV).

Davóne Tines and Karen Slack
Photo by Eric Woolsey

In the opera, the fire shut up in the young Charles Blow's bones is not the word of God but rather a toxic mix of rage, self-doubt, and emotional need stemming from his early years as the youngest of five boys in a poverty-stricken home in rural Louisiana. Confused by his emerging bisexuality, unable to fully connect with his brothers, and hungry for a degree of affection his overworked mother Billie can't provide, the seven-year-old "Char'es-Baby" is molested by his amoral cousin Chester.

As the opera opens, the young adult Charles is on his way to kill Chester, urged on by the character of Destiny. "Don't hesitate, boy, not for a moment. Chickens must come home to roost." But as Charles's story unfolds in flashbacks, he begins to seriously question that resolve.

The story of Fire Shut Up In My Bones ought to be filled with dramatic urgency, but both Ms. Lemmons's libretto and Terence Blanchard's restless, jazz-inflected score seem to exist at a remove from the characters and the action. The first act, which concludes with Chester's attack on the young Charles, packs a real emotional punch, but the energy seems to dissipate and become somewhat bogged down in the biographical detail of the second and third acts.

Julia Bullock, Jeremy Denis as
Char'es Baby, Davóne Tines
Photo by Eric Woolsey

That said, the work is getting a certified rouser of a presentation by a wonderful cast, including five impressive dancers flawlessly executing Seán Curran's choreography, all under the expert direction of OTSL veteran James Robinson. Bass-baritone Davóne Tines dominates the show as a blindingly intense Charles, contrasting sharply with soprano Karen Slack's harried but loving Billie.

Baritone Markel Reed is a chillingly sociopathic Chester and tenor Chaz'men Williams-Ali is a credibly feckless Spinner, Billie's ne'er-do-well husband. Soprano Julia Bullock is compelling as Greta, who loves and inexplicably leaves Charles. She's also effective in the dual roles of Destiny and Loneliness, although without referring to the libretto it's not always clear which one is which. Others in the cast play multiple roles with remarkable facility.

William Long conducts members of the St. Louis Symphony along with a small jazz combo in what certainly sounds like an authoritative account of Mr. Blanchard's score.

In a June 16th New York Times article , Charles Blow judged Fire Shut Up In My Bones to be "absolutely stunning, musically and visually, as well as in the performances." It didn't have the same effect on me but, as they say, your mileage may vary. Performances are sung in English with projected English text and continue through June 29th at the Loretto Hilton Center on the Webster University campus.