A collaboration between Pioneers go East Theatre Co. and Magis Theatre Co., the new one-act opera Caravaggio Chiaroscuro , based on the Roman life of the great Renaissance Italian painter, looks like a work in progress. However, this ambitious multi-media work captures the essence of this most controversial figure, one who is credited with having invented naturalism in Italian painting, yet who lived a scandalous life that led to accusations of murder, many imprisonments, exile from Rome, and an early death. Caravaggio Chiaroscuro makes it clear that the painter used both prostitutes and hustlers as models for his religious masterpieces, which made them controversial in their own time. His own bisexuality is presented, but not explored, in the course of the work.

Presented as part of LaMaMa E.T.C.’s 46^th season, Caravaggio Chiaroscuro has been created by two theatre artists: it is conceived by Gian Marco Lo Forte who wrote the libretto and designed the set, and Duane Boutté who composed the music and plays the central role of Caravaggio. Boutté’ ;s lovely music, performed live by Jamie Wilson on violin and Jason Sagebiel on guitar, suggests Italian folk melodies. Although most theatergoers will be unaware of it, the performance style has been adapted from the “stile rappresentativo” and “choral ritornelli” of early Renaissance opera, found particularly in those of Monteverdi. Besides the arias, this form uses language half way between spoken speech and song. Although there is often background music behind the dramatic scenes, the limited use of song makes “opera” a misnomer. Lyric drama or music-theater piece would be more accurate.

The performance depicts Caravaggio’s arrival in Rome in 1591. Broke, he is befriended by the fruit seller Mario who becomes both his muse and his assistant, the architect Longhi, and the French Cardinale del Monte who will forward the artist’s career. He runs afoul of the artist and critic Baglione, and Baglione’s friend and bodyguard, Ranuccio, quick to anger and quick to draw his knife. When Caravaggio meets the courtesan, Annuccia, who becomes his model, Mario becomes jealous and leaves him. After Caravaggio’ ;s murder of Ranuccio and the artist’s imprisonment, the ending of the opera with his exile in 1607 and death in 1610 is rather abrupt, making the work seem unfinished.

Duane Boutté, Matt Nasser and Kat Yew (above)
(photo credit: Jonathan Slaff)

Some of the production choices are problematic. Part of the dialogue is in Italian: while it gives an authentic flavor to the setting and period, it distances the material for those who can not translate it. On the other hand, the passion with which it is spoken speaks volumes. The libretto has telescoped and rearranged the facts and people in Caravaggio’s life. As a result, this could not be said to be a true biography but rather a fantasia on the life of the painter, an accusation that was also leveled at Derek Jarman’s controversial 1986 film. Although labeled an opera, there is as little actual singing as in early 17^th century Italian music drama which has inspired it.

Most effective are some of the visual images that suggest Caravaggio paintings: the opening performed in silhouette behind curtains and lit by candlelight; the posing for “The Cardsharps” by Caravaggio’s model Mario who alternately depicts all of the painting’s characters; the lifting of the body after the murder of Ranuccio which suddenly becomes the pose in Caravaggio’s painting, “The Entombment.” Lo Forte’s wooden scaffolding setting itself which becomes an Italian street, an interior of an artist’s studio, a many roomed tavern, a prison cell, etc., turns the entire theater into an Italian Renaissance environment. (Beware the historic benches that the audience is asked to sit on.) Although the candlelit scenes are memorable, Federico Restrepo’s lighting design does little to evoke the chiaroscuro that Caravaggio is known for.

Matt Nasser and Duane Boutté
(photo credit: Jonathan Slaff)

Directed by George Drance, the acting seems lacking in both nuance and depth. Although the generally young cast has passion and intensity, the actors tend to be rather superficial in their characterizations. Visually, Boutté’s Caravaggio resembles some of the paintings assumed to be self portraits, while Matt Nasser as Mario who becomes the artist’s muse could have stepped out of Caravaggio’s painting of “Boy with Basket of Fruit” which is our first image of him on stage. Some of the performers, like Dana Cote as Cardinale del Monte, who are fine in their acting, seem too young for their roles. The costumes by Denise Greber recreate the lower class clothing in Caravaggio’s painting, without, alas, having the finances to depict the richer Renaissance garb.

Caravaggio Chiaroscuro is an ambitious theater project that only partly lives up to its promise. As a work in progress, this is a noble undertaking to bring to the stage the tumultuous life and times of one of the Renaissance’s most controversial artists.

Caravaggio Chiaroscuro (through October 14)

La MaMa E.T.C., First Floor Theater, 74A East Fourth Street, in Manhattan