Peter Grimes

Grey Days
trapped in a wooden box

John Doyle jumped a few blocks north from Broadway to direct the Met's new production of Peter Grimes. The results, if confined to a small stage and presented to a Sondheim crowd, may have resulted in an enjoyable evening out. Unfortunately when restrained so tightly and directly with such monotonality, the composite just doesn't work. Luckily Donald Runnicles conducted Benjamin Britten's superbly modern and strong opera so at least the music was sublimely enjoyable.

So what went wrong with the simple tale of a misunderstood fisherman with a dark side? The monolithic old barn set that turned into a giant puzzle box was the first dead fish thrown on stage. The story is set on a coastal town and the wonderful transition between Act I and Act II tosses the score around as if it were buoyant on the sea, some sections sparking and ebbing with beauty before other movements chill and build to gale-force turmoil. The set can never reflect this wavelike motion and thrill; instead it can only shift and force itself into variations on the big dark box theme. The libretto is written with understated score, sometimes becoming acapella, which can add to the isolated feeling of the character. The chorus was well used and added to the themes of societal oppression and judgment. Anthony Dean Griffey performed the lead tenor role with professionalism and quality but I wondered if his singularly brooding performance was the director's choice or his. I wish he had added more texture to the role thus making it more ambiguous as to his guilt.

Grimes is under suspicious of contributing to the death of his first seaman apprentice while both were out fishing too far offshore, trapped and lost for days with no water. The death was deemed an accident, Grimes soon turns to Ellen, the woman in town who still believes in him. Ellen and Grimes friend soon help him acquire another boy from the workhouse. Of course the town wonders if Grimes is capable for caring for the boy or if their fears will come to a deadly end. Set against the coast and sea, emotions should reflect the changing light, color, and temperment of a coastline. Instead, like the sets, the feeling are left flat and angry, just driftwood occupying space.