If God is in the details, Christine Jones must certainly be praying at the right church.
As the scenic designer for the Metropolitan Opera's new RIGOLETTO, Jones has taken the concept that director Michael Mayer sold to the Met--the '60s Las Vegas of Sinatra's Rat Pack vs. the 16th century Mantua of the original--and flown it to the moon. The result is a smart production that is fun to watch and works visually even when certain directorial details--Rigoletto doesn't live up to his billing as a "Don Rickles-type"--seem tenuous.
It's hard to believe that such an assured production came from a newcomer to the Met, or that it came together as quickly as it did. Mayer invited Jones--along with costume designer Susan Hilferty, and lighting designer Kevin Adams--to come on board in August 2011 and the designs were due in December. Jones admits it was a daunting timetable.
A throw of the dice
"I didn't want my debut to be rushed," she says, but recalls starting to think about the design even before she even agreed to take on the production. It began with the use of neon lights as a key element: In Act I, the neon, so symbolic of the Vegas Strip, defines the look of the casino floor. By Act III, as the characters evolve--or, in Rigoletto's case, unravel--the neon appears in a different form, as an abstract design against the backdrop, to represent the lightning of the stormy conclusion.
Having worked with the other designers and Mayer on several Broadway shows, including her Tony Award turn on American Idiot as well as on Spring Awakening, helped stoke Jones's confidence. With ideas swirling around in her head and thoughts of working at "the Met" leading her forward, Jones eventually tossed the dice and, as it turns out, she was a natural.
To say that she was excited would be an understatement. "When we went up the red velvet staircase for our first meeting with Peter Gelb [the Met's General Manager], I had to keep pinching myself," she recalls. "I felt like I was in Charlie and the Chocolate Factory and there was all this candy in front of me."
Challenges to face
Excitement aside, Jones found many challenges to face, even though they were tempered by working with a group of colleagues she knew and respected.
Translating the story. "Usually, when we start working on a show, we figure out things together. But since Michael had already sold the Met on the idea of the Rat Pack Rigoletto, that's where we started," she recalls. "There was one thing we all agreed on--making the story translatable from the original and not simply setting Vegas on top of it. We were very conscious of doing it right."
The Met's special rhythm. Then there was the matter of getting into the rhythm of working at the Met, where a dozen operas can be at some stage of production at a given time. Reality struck Jones after the tour of the facility, when she found that access to the house and to its phenomenal artisans was limited and that Team RIGOLETTO had to carve out its place in this universe. (In an interview with The New York Times, Mayer said he didn't get the singers and sets on stage until less than two weeks before the premiere, because of scheduling.)
Richard Sasanow is a long-time writer on art, music, food, travel and international business for publications including The New York Times, The Guardian (UK), Town & Country and Travel & Leisure, among many others. He also interviewed some of the great singers of the 20th century for the programs at the San Francisco Opera and San Diego Opera and worked on US tours of the Orchestre National de France and Vienna State Opera, conducted by Lorin Maazel, Zubin Mehta and Leonard Bernstein. |