It’s not unusual for it to take a pretty massive overhaul to make something old new again. In the world of opera, a recent reinterpretation of the Barber of Seville stands as one of the most resounding redo successes you can imagine. The Factotum, a glitteringly fresh take on Rossini’s classic lifts the original 19th Italian storyline and places it in the heart of a current 21st century Black American community. Produced by the Lyric Opera of Chicago with just five shows being performed at the Harris Theater, it expands the notion of what opera can be by incorporating artistic elements seldom seen on the operatic stage. The dialog’s in English, the characters reflect the diversity of our culture, the dancing’s exuberant and we see the kind of intrigue and challenges people face in the here and now.
The brainchild of a Grammy nominated baritone Will Liverman and producer/multi-instrumentalist DJ King Rico, The Factotum brings relatability front and center. Acting like creative renegades who keep the operatic structure in place but totally revamp the original story’s emphasis and focus, the two artists created something that sits under the umbrella of opera but appeals to a wide ranging contemporary audience. Not only does it choose to place the action in a foundational cornerstone of the Black community, a barbershop; it goes one step further by honoring the cohesiveness and perseverance of the community itself.
Obscure at first, the project’s title becomes more and more clear as the audience sinks into the belly of the plot. A Latin term that loosely refers to the act of bringing everything (or everyone) together, The Factotum opens, atypically, in dance and centers on the person who’ll prove pivotal throughout the drama. Cece’s (Nissi Shalome) the niece of two uncles who have different visions of life, success and legacy. Helping to build a positive future for her is one of the few things they have in common. Together the two brothers own and run a barbershop established by their late father. Mike (Will Liverman) wants to maintain the integrity of the shop by running an honest above board operation known for the quality of its stylists and the integrity of its principles. Much more ambitious and much less concerned about how revenues are driven, his brother Garby (Norman Garrett) uses the shop as a front to run an illegal numbers racket. Mike’s convinced his brother’s hustle jeopardizes the barbershop. Not only does Garby remain defiant, he brags about what his enterprise is doing not only for himself; but also for their niece. She’s about the graduate from high school and his gift to her is tuition and living expenses to one of the country’s premier historically Black colleges and universities (HBCU’s). It’s a gift commensurate with the love both brothers have for their deceased sister’s daughter.
Dialog in traditional opera isn’t spoken. To heighten the dramatic arch of the storyline and to better showcase the technical capabilities of the human voice, it’s sung. Co-creators Liverman and Rico retain this convention only in part. Just the main characters, Garby and Mike, both baritones, adhere to this standard; and their commitment to it is total. Through them, we’re treated to the full power and technical rigors opera celebrates. Even though they’re singing in English rather than Italian, screens above the stage run subtitles to insure the audience can easily follow the opera’s progress. Whether characters are simply speaking their lines or blasting a signature rendition of a song like the barbershop’s ace beautician Chantel (Melody Betts) does in the first act, the subtitles prove a useful tool in following the totality of plot.
Very much a hybrid creation, everything about the opera draws you in both visually and musically. A chorus of dancers moving to Maleek Washington’s sensational choreography are a constant source of energy and excitement. Harlan Penn’s set design captures the rich feel of a barbershop that’s rooted and secure in its purpose. Full of people who know one anothers history and understand each others disappointments and dreams, the physical space Penn creates on stage feels as much like sanctuary as it does a business. A place of complex dimensions, joy for life and living sit at the center of this barbershop’s nature. Tensions between the two brothers may be the overarching focus in this drama, but as everyone knows, life teems with relationships that are anything but simple. When CJ (Martin Luther Clark) returns from the army and runs into a former love interest, Rose (Cecilia Violetta Lopez), they both seem more than a little interested in pursuing something they didn’t quite achieve before CJ left. The fact that she’s currently Garby’s girlfriend makes their romantic interest in one another combustible. For Garby, the appearance of a possible rival is the lesser of his worries. Even though he’s been paying off the cops, he’s gotten a tip that he’s about to be raided. The decision he makes after gaining that knowledge proves fateful; opening the door to what’s been a persistent bane in the Black community for centuries. Conscious police overreach and cruelty. What’s most sobering is their target.
Despite its stark mirroring of reality, this is a story that celebrates the very special bond found in neighborhoods that remain resilient despite an onslaught of hardships. A story that says we are stronger when we come together to support and sustain each other during calm waters and rough seas. An engrossing plot, wonderful music, incredible dance and a stage full of talent converge to bolster that message. Authenticity may be the opera’s most endearing and memorable quality. Because The Factotum captures the essence of Black life so precisely, you might confuse it for an August Wilson play set to an excellent spectrum of music. Roma Flowers’ video design also does its part to entrench the affirming themes of the production.
With only two remaining dates to see the show, February 10th and 12th, making it a priority to experience this artistic revelation would be justifiable. There are very few places you’ll find so much understanding and affirmation.
The Factotum
Presented by the Lyric Opera of Chicago
February 10 & February 12 (matinee)
The Harris Theater
205 E. Randolph Street
Chicago, IL
https://www.lyricopera.org/shows/upcoming/2022-23/the-factotum/
