‘Isaiah’ mesmerising

Father Ho Lung and Friends successfully gave life to the complicated story of the prophet Isaiah in a kaleidoscope of special effects, brilliantly designed costumes, set, props, and lighting, complemented by incredible singing, believable acting, and fine directing.

Performed at the National Arena, on Saturday, writer Father Richard Ho Lung, transformed the biblical book of Isaiah into an operatic masterpiece. The wily writer creates Isaiah (Stephen Johnson) as a three-dimensional character, whose journey takes him from the city’s streets to the royal palace. At the palace, under God’s instruction, he prophesies the importance of peace to the nation of Judah. As the nicely paced plot progresses, Isaiah experiences love, joy, and sorrow.

UPLIFTING MESSAGE

But while the story of the biblical character is poignant, and the message is timely and uplifting, the all-round excellence displayed, for the most part, by cast and crew is worthy of praise, too. From the well-written lyrics, creatively arranged to reinforce settings, moods, and status of the characters, to some fine acting.

Excellence began with the P.J. Stewart-designed set, with its various levels, created streets, palace, and mountain top. The earthy colours of the set were compatible with the colourful period costumes and the Robin Baston lightning design. The set also gave much credence to director Greg Thames, and choreographer Paula Shaw’s concepts.

Both the director and choreographer used the stage effectively. In blocking the large cast, Thames showed brilliance. Father Ho Lung and Friends productions are known for gripping special effects. In one such graphic scene, the death of Isaiah was cushioned with two simultaneous actions. Shaw’s choreography was clean and performed with precision. Baston’s use of lights to reinforce moods and setting was moving, as was the green- and yellow-coloured lights chosen for Act One: Scene Eight.

But the strength and success of any opera lies in the vocal ability of the cast, and how well they are able to articulate the words of the songs. Thus, the onus is on the musical director. In this case, Wynton Williams bore the weight. It was one he carried with a great degree of success. The cast, in general, and by extension the principals, were not only clear in their diction, but delivered the songs with convictions.

A standout was the well-cast Johnson, who gave an indelible rendition of the song They Killed Her, in Act Two: Scene Four, Lamentation of Isaiah. As the conflicted Isaiah mourns the death of his child and the end of peace in his country, Johnson carried the audience through his character’s emotional turmoil with success. Antagonist Craig Wallace, as King Ahaz, showed why sin is attractive with believability; and Palmer, as the aged King Uzaiah, was just as compelling. Jana Lee Henry, who played Louisa, Ho Lung’s given name to Isaiah’s wife, along with narrators Caryl Constantine and Leighton Jones, and Maylyn Dillion, as Isaiah’s daughter, were incredible, too.