Diandra Reviews It All

The Golden Apple is making its weekend stay at New York City Center, and it is not to be missed. With music that will leave you soaring higher than Paris’ hot-air balloon. It is a 135 minute, genre-bending opera that reminds viewers of the magic of a voice.

Written by Jerome Moross and John Latouche as a spin on the The Iliad And The Odyssey based in the 1900’s, young love, abandoned hopes, and intriguing female characters are abound in the Golden Apple, of which it is the ladies of the cast that truly shine. From the jazzed wonder of “Lazy Afternoon” by Lindsay Mendez as Helen to the crystal clear opera voice of Mikaela Bennett, the females dominate in this musical that is strictly sung. Of course, there are those that do not like the “Les Mis” notion of no dialogue, but The Golden Apple is too rich in music and cast to hold such pretensions. Mendez as Helen adds a dreamy sensuality to the legendary character that helps you understand why Menelaus’( Jeff Blumenkrantz) possessive, even narrowed mind-frame is not enough to keep her from the charming, worldly, and intriguing Paris. Barton Cowperthwaite is undeniably charismatic as Paris, and whisks the audience, as well, in his role. He and Ryan Silverman’s Ulysses build solid, sonic constructions of their mythical characters as men who love women, but are not quite aware of the difference between loving themselves and LOVING themselves. Yet, Mendez is a standout, in part because of her wonderful rendition of “Lazy Afternoon”, and her ability to convey that some women cannot be tamed…. and why should they be?

The Golden Apple is vibrant in bringing to light the negativity and positivity of ancient myths like,”The Iliad And The Odyssey” in purporting female portrayal. Although the scenic design by Allen Moyer and music director Rob Berman keep a sense of whimsical or colorfulness to the show, it is this serious note that struck me most through Bennett’s portrayal as the strong, but vulnerable Penelope; whose journey of abandonment and self-healing is fascinatingly played by the Julliard student. Yes, she is still a student, and after reading this fact in her biography, I felt glee that she is on her path and holding her own with Broadway vets like, N’Kenge (Mother Hare/ Circe), Carrie Compere (Lovery Mars/ The Siren), and Ashley Brown (Mrs. Juniper/ Calypso), whose presences are mystifying and felt. After all, magnificent voices cannot be ignored. While the interludes of dancing were like gusts of fresh air, it is the singing in The Golden Apple that elevates every aspect of it purpose: from story to set. Everything comes to life when you hear the beauty of Bennett’s “Wildflowers” or the power of “The Judgement Of Paris”, which heightens the physicality of its strong, ensemble dancers as they brisk through the stage in Joshua Bergasse’s fluidly, majestic choreography. Overall, the direction of Michael Beresse assures that Encores! Off-Center keeps its growing status for reviving musical relics that would otherwise and regrettably be forgotten. For More Information On New York City Center And To Go See The Golden Apple This Weekend Click Here.