I played the clarinet in grade school. I loved music and wanted to be part of creating it. When a bass clarinet was discovered in the school basement, I was asked to play it. Since it was old, I was told if I didn’t think I’d get the note to not try for it. This pretend playing advanced me into the city’s honor band. They needed a bass clarinet. I wasn’t gifted. I wasn’t good. But I loved being in a concerted effort to produce music. So, I faked my part to stay in the orchestra. Every once in awhile, I would get caught up in the surround sound and try for a note. A loud squeak would always remind me that I didn’t really belong in the group.
Redtwist Theatre presents the Chicago premiere of Opus. A well-established string quartet has hit a bad note. The musical genius of the group has gone off his medication. He is a little buggy. The group has fired him and is interviewing for his replacement. They stumble on a young woman. She has limited experience but is naturally gifted. The trio employ her as their fourth. Her presence changes the dynamic. Is it because she’s inexperienced, a woman, more talented? Yes! Their next gig is to play at The White House. Can they find harmony in the discord? Opus is a masterpiece.
Read the rest of my review at Chicago Theater Beat.
Filed under: Redtwist Theatre
Tags: Allison Queen, Amy Szerlong, Brian Parry, Cassandra Rose, Charles Bonilla, Christopher Burpee, Christopher Kriz, Emily Tate, Eric Broadwater, Jan Ellen Graves, Jason W. Gerace, Joelle Beranek, John Ferrick, Johnny Garcia, Justin Castellano, Katy Walsh, Lauren Angelopoulos, Mary Reynard Liss, Michael Colucci, Michael Hollinger, Michael Sherwin, Mike Dunbar, Olivia Baker, Opus, Paul Dunckel, Redtwist Theatre, Zhanna Bullock