1854 is an imagined Town meeting happening at the Union Chapel in Oak Bluffs on Martha’s Vineyard.  It is a folk opera, simply and elegantly laced together from several elements.  The piece will be site-specific utilizing the grounds and distinctive architecture of the Union Chapel. People are dressed as if they are going to church – in their Sunday best.  I anticipate limited instrumentation, with an emphasis on strings, drums and African instruments.  There are three choruses:  the Townspeople (“Citizens’ Chorus”), Freedom Chorus (freed African slaves) and Whaling Captains, plus a contingent from the deaf community that creates its own special chorus through sign language and poetic body movement.  The deaf community manifests a rich inner life as they speak with each other regarding the proceedings of the town meeting.  Their use of hands, facial expression and body movement is poetic.  1854 will be signed throughout and hearing and non-hearing members of the town will communicate with each other as well.

 

In addition, I have conceived of an African Griot (see image above) conducting all of the choruses through dance, gesture and sound.  In the context of this performance, the Griot embodies the rich cultures of the African continent.  She is also the conscience of humanity (and this meeting), a link to the birth of civilization and is a bridge amongst multiple realities, seen and unseen.  Think of a combination of John Coltrane and Nina Simone as Griot.  She is the metaphoric representation of Harriet Tubman.  The Citizens’ Chorus sits amongst the audience while the Selectmen are on a platform in front.  The Griot roams on a platform higher than the audience, townspeople and Selectmen.  After a series of choral debates, arias, for and against the petition to abolish slavery, a crescendo is reached, creating a cacophony of heat without a definitive vote. 

 

The Citizens’ chorus freezes, as do the selectmen, and Freedom chorus.  But not the deaf community.  They keep chattering with each other through signing and dancing. They dance as well as sign expressing their opinions.

 

Suddenly, six Whaling Captains make a dramatic entrance into the chapel on stilts, thus demonstrating their dominance in the community.  They sing about “How Long,” which talks about their long and difficult journeys and serves as a metaphor for the African American quest for freedom. 

 

The African Freedom Chorus remains in shadow in the balcony, to be fully revealed at the end of the piece via a mirror that had been hanging over the Griot’s platform and is slowly lowered silently after voting is complete.  When finally in place it will reflect the audience, Citizens and Freedom Chorus in the same frame.  The Freedom Chorus’ presence is always felt from beginning to end.  Their music forms the basis of the opera.  African drumming is present throughout the evening.   As previously stated, The Freedom Chorus is heard and not seen until the last moments.  The dynamic of being heard but not seen through most of the piece is a metaphor that is true to the African American status during slavery.  This is an environmental theatrical experience.  The audience is surrounded by the music and action.  No fourth wall (proscenium) is present.

 

The meeting culminates after many moments of conflict, humor and resolution in a vote to petition the government to abolish slavery.  The vote is not unanimous.