Asserting identity is a theme in two recent musical offerings, Dave Malloy’s a cappella piece Octet and composer Iain Bell and librettist Mark Campbell’s world-premiere Stonewall presented by City Opera. The latter celebrates the 50th anniversary of the history-making uprising in Greenwich Village which marked the beginning of the modern gay rights movement. Like Octet, Stonewall features a diverse and engaging score and employs multiple, single-trait characters whose lives intersect. Though the characterizations are thin, fascinating and believable worlds are created. With its heart in the right place, Stonewall does achieve a heartbreaking climax as the myriad oppressed LGBTQ protestors gather amidst the post-riot rubble and intone Bell’s soaring plea for tolerance.
The exuberance of gay nightlife is captured with two pop songs featuring dynamic vocals by the legendary Darlene Love. But the individuals seem like categories rather than people (butch lesbian, transgender woman, young gay hustler, closeted suburban businessman, glamorous drag queen, etc.). Leonard Foglia’s production efficiently handles the difficulties of mass crowd and fight scenes, and there are moving arias by Lisa Chavez, Brian James Myer, Jordan Weatherspoon Pitts, and Liz Bouk in the first operatic role written for and performed by a transgender singer.
