Hercules

Canadian Opera Company production of Hercules, 2014. Photo by Michael Cooper.

The Canadian Opera Company’s current production of Handel's Hercules, offers audiences an engaging experience that explores the physical strength of the human body versus the vulnerability of the mind. Internationally renowned director Peter Sellars returns to the COC stage, adding a raw, modern voice to the classical myth.

Set against a minimalistic backdrop, act one opens with Dejanira (Alice Coote) writhing with anxiety, awaiting Hercules’ (Eric Owens) return from war. She is joined by Lichas (David Daniels), Hercules’ Harold, and her son Hyllus (Richard Croft), who both attempt to comfort her to no avail.

Hyllus reaches a point where he can no longer wait passively and becomes determined to set out on a journey with the sole purpose of finding out his father’s fate. Interestingly, Hyllus is presented as physically weak, unable to walk without crutches, however he has great determination and mental strength. This is a stark contrast to his father who possesses great bodily strength but is mentally vulnerable.

Hyllus’ quest is about to commence when Hercules returns, a celebrated hero rich with the spoils of war, bringing with him the princess Iole (Lucy Crowe) of the fallen city Oechalia. The princess, her father having been slain and her freedom taken, is clearly traumatized, as is Hercules in his own way. Both experience violent flashbacks and cannot seem to move forward from their experiences. However, though both are coping with trauma, Hercules seems to stagnate in his own tragedy while Iole focuses on her desire to live a simple life, associating pain with power and seeking to distance herself from both.

Dejanira also falls victim to the tricks of her own mind when she becomes blinded by her jealousy of Iole, an obsession which sparks a tragic chain of events and permanently alters the lives of all involved.

It should be noted that this piece appears extremely vocally taxing, and it was a thrill to see such talented performers execute what can only be described as vocal gymnastics. Also, though the set was minimalist in design, lighting director James F. Ingalls’ execution offers a stunning backdrop, carrying the full visual weight of this production with ease.

Hercules is interesting in that it is not a traditional opera and its definition has ranged from “classical drama” to “mythological oratorio." The piece walks the line between multiple definitions, however this interpretation appears to align closer with the oratorio classification in that it is sung in English, there are minimal sets, few props and the chorus is predominantly featured. (It is really only the non-religious subject matter that opens the classification question to discussion.) Hercules is truly a unique show that adds variety to the COC’s spring offerings.

Hercules runs for seven performances at the Four Seasons Centre for the Performing Arts: April 5, 11, 15, 19, 24, 27, 30, 2014.

A reminder to those under 30, the COC offers a great Opera under 30 program, full details are available on their website.

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