Washington
Washington Classical Review
Viviana Goodwin in the title role and Justin Austin as Remus in Scott Joplin’s Treemonisha at Washington National Opera. Photo: Elman Studios
Washington National Opera has survived its exodus from the Kennedy Center. In the first performance since ending the affiliation agreement with its former home, WNO delivered a beautiful and timely production of Scott Joplin’s only surviving opera, Treemonisha. The substitute venue, Lisner Auditorium, resounded with a sold-out audience of enthusiastic supporters, something WNO had not drawn to the KC in months.
Treemonisha is a young black woman found as a baby under a tree by her adoptive parents, Monisha and Ned. Educated by a white woman, she teaches others in her rural community, near Texarkana (where Joplin himself was raised), to read and write. After she defeats the local conjurers, who use superstition to cheat and swindle, the community elects her as their leader.
This version of Treemonisha, while still largely recognizable as Joplin’s work, has been adapted and orchestrated by composer Damien Sneed, with some new dialogue and lyrics by Kyle Bass. The work remains a lightweight piece in many ways: an operetta more than an opera, with spoken dialogue and incorporating a range of popular musical styles, a compendium of the music Joplin heard and played in his youth, from ragtime to spirituals to barbershop quartet. The adaptation tightens some of the dramatic structure, while bringing out the originality of Joplin’s compositional voice.
Soprano Viviana Goodwin, a Cafritz Young Artist heard as Clara in last season’s Porgy and Bess, made an eloquent and winsome Treemonisha. Her lyrical voice suited the character’s dreamy, idealistic arias, and her supple top range provided more than enough power to carry the opera’s major climaxes. The changes to the opera, especially Treemonisha’s romance with and marriage to Remus, only implied in Joplin’s score, made the character more human than idealized savior.
The role of Remus, written by Joplin for a tenor, had to be adjusted somewhat for baritone Justin Austin to sing it. While not ideal musically, the change made sense in terms of casting: the earnest Austin, tall and imposing, proved a sinewy presence. Sneed, while doing away with the duet between Monisha and Ned (“I Want to See My Child”), showed the growing love between Remus and Tremonisha by giving them a hummed duet as they returned to the community, to the tune of “Marching Onward” from the opera’s final number.
Kevin Short as Ned and Tichina Vaughan as Monisha in WNO’s Treemonisha. Photo: Elman Studios
Tichina Vaughn brought a burnished mezzo-soprano and dignified stage presence to the motherly role of Monisha, with some potent high notes along the way, for a solid WNO debut. Bass-baritone Kevin Short gave humor as well as authority to her husband, Ned, with some of the opera’s most lyrical moments. His big aria in Act III, “When Villains Ramble Far and Near,” had a Sarastro-like gravitas, even venturing down to a rich low D at the conclusion.
Among the supporting cast, tenor Jonathan Pierce Rhodes continues to show a broad acting range. After his turn as a trans woman, among other roles while a Cafritz Young Artist, Rhodes displayed both strutting confidence and vulnerability as the leader of the conjurers, Zodzetrick. In another change to Joplin’s libretto, in this adaptation, Zodzetrick does not take advantage of Treemonisha’s insistence on mercy by going back to his old ways but is sincerely converted.
Both tenor Hakeem Henderson and baritone Nicholas LaGesse had impressive turns, as Andy and Parson Alltalk, respectively. In Sneed’s adaptation, Alltalk is not in league with the conjurers as in Joplin’s libretto.
Director Denyce Graves, who portrayed the conjurers more as practitioners of an African or Caribbean folk religion, insisted that the staging was “not meant to mock spiritual tradition or folk belief.” Both the Parson and the conjurers, in fact, seem pious in their own ways.
The most obvious change to the score was heard at the opening of Act I, when banjo player DeAnte Haggerty-Willis took the stage to play a number before the Overture. The banjo, Joplin’s mother’s instrument, added a lovely, authentic aura throughout the evening. Sneed himself, seated at an onstage upright piano like the spirit of Scott Joplin, joined the opening number and added musical touches to the orchestral fabric throughout the performance. Sneed’s orchestration used a limited number of strings and modest woodwinds and brass, restricted by Lisner’s small pit. Kedrick Armstrong, appointed as music director of the Oakland Symphony in 2024, held things together at the podium with a calm hand.
The choral numbers, sung by the supporting cast, had a pleasing heft in the small but resonant acoustic. Sneed moved the chorus “Aunt Dinah Has Blowed de Horn” from its position at the end of Act II to open Act I, now sung by Treemonisha’s community instead of the plantation she and Remus pass through on their way home. That piece followed Joplin’s lengthy overture, which Graves decided to accompany with a pantomime. That regrettable choice, too often made by directors these days, was made worse by depicting the story of Treemonisha’s adoption, thus making redundant Monisha’s later narration of those same events.
Graves, who has embarked on a second career as a talented opera director, nonetheless created a visually appealing and dramatically cogent production. The paisley-like vine patterns covering Lawrence E. Moten III’s set pieces recalled the tree central to the plot, as well as the wreaths worn by the girls in the community. The vibrant lighting designed by Jason Lynch brought out different hues in those patterns, suiting each scene’s mood.
The choreography by Eboni Adams, performed by four elegant dancers as well as the cast, added another lively aspect to this worthy staging. The adaptation moved Joplin’s ballet, “The Frolic of the Bears,” to the start of Act II, where it served instead as an expression of the conjurers’ folk beliefs. All in all, this is a worthy staging of an American monument, kicking off a series of three American works to conclude the WNO season in style.
Treemonisha runs through March 15. washnatopera.org
Photo: Elman Studios
Washington
Washington looking for solutions to looming water challenges | Cascadia Daily News
WOODINVILLE — For four straight years, at least parts of Washington have been in a drought, as snowpack has failed to meet historical norms amid climate change.
This year, all of Washington is experiencing drought, after a wet winter scuttled by warmer temperatures, according to state officials.
Washington state leaders are looking for ways to deal with the ongoing water challenges, which state Ecology Director Casey Sixkiller calls “our new normal.”
A new initiative, called Washington’s Water Future, will lead roundtable discussions across the state this summer, with recommendations delivered to Gov. Bob Ferguson before the 2027 legislative session begins in January. Local and tribal governments, utilities, industry leaders, environmental groups and community organizations will be at the table.
Officials announced the effort Wednesday at King County’s Brightwater Treatment Plant near Woodinville.
“It’s clear we need to take steps to protect our water supply,” Ferguson said in a pre-recorded video. “We need secure water supplies so we can grow our economy, support our agriculture industry, protect healthy fish runs and preserve tribal resources.”
Sixkiller said the work is about whether Washington will shape the future of water in the state, or just react to it.
“Washington is a water state,” Sixkiller said. “Water shapes our landscapes, our communities, our economy, and for many a way of life passed down through generations. We all know that where there’s water, there’s life, but these days, we don’t have to look very hard to see that our relationship with water is changing.”
Climate change is causing precipitation in the winter to fall more as rain than snow, with less stored naturally in the mountains for the summer, when farms and fish are competing for the dwindling resource. This system, dependent on snowpack, is becoming less reliable, Sixkiller said.
By 2080, the Puget Sound region is expected to get less than half of its normal snowpack, with wintertime stream flows increasing by half and a corresponding drop in the summertime, the agency director said.
“The cost of inaction is already showing up in drought emergencies, flood damage, stressed salmon runs and uncertainty for communities trying to plan their future,” Sixkiller said.
Last year, the Department of Ecology took the unprecedented step to curtail surface water usage in the Yakima River Basin, where the effects of drought are more severe. The move has drawn accusations of mismanagement against the state.
In an interview, Sixkiller said it’s too soon to say whether his agency will need to do the same this year, but noted the state declared a drought earlier than usual to give water managers in the area more time to prepare.
The statewide drought declaration last month unlocked $3 million in grants to respond to the effects.
The harms already
The Yakima-Tieton Irrigation District, which serves 28,000 acres, is bracing for its canal system to “blow out” after a wildfire burned it in 2024, and subsequent flooding and debris slides further damaged it, said Jon DeVaney, president of the Washington State Tree Fruit Association.
“This is a clear example of the need to, not only plan long term, but be prepared to see that hole that we’re already in get a little bit deeper,” DeVaney said.
The low flows and higher temperatures are treacherous for Washington’s salmon. And fish hatcheries are grappling with dwindling water. The Suquamish Tribe, for example, hasn’t been able to expand a hatchery because of the lack of water, Chairman Leonard Forsman said.
Forsman, also president of the Affiliated Tribes of Northwest Indians, acknowledged the priorities when thinking about the future of water availability are “people and farms, and then fish habitat comes in later.”
“And we need to try to balance that,” he said.
Meanwhile, data centers the tech sector is building to support artificial intelligence and other technologies are also driving demand for water.
Some of the ideas
In responding to the state’s water needs, Sixkiller said “all solutions and all ideas are on the table.”
He was responding to a question about desalination, a process turning salt water into potable water that communities in more arid climates have turned to in addressing water shortages. Arizona, for one, is pursuing the idea. Sixkiller called the water scarcity in the American southwest a “very big red flag of what could happen here.”
The city of Lynden in Whatcom County has grown rapidly over the past 15 years, Mayor Scott Korthuis said. So the city, located along the Nooksack River, has had to find innovative approaches to securing water.
For one, the city now recycles discharged water from the local Darigold dairy plant into the river, as a source of drinking water.
The city is also working on an aquifer recharge project to take water from the river during high flows and store it underground until it’s needed later. Sixkiller cited this type of work as an idea to be explored in the Washington’s Water Future roundtable discussions.
“There are a range of untapped solutions from different areas, from different ways to store water and to recycling,” Korthuis said, noting financial, legal and regulatory obstacles.
Aging water infrastructure that will need to be replaced or upgraded provides an opportunity for innovative solutions, Sixkiller said.
King County Councilmember Claudia Balducci noted the new initiative’s acronym matches that of the World Wrestling Federation, saying there will be some “smackdowns” in these discussions. The tongue-in-cheek comment worried state Rep. Davina Duerr, D-Bothell.
“I’m afraid it’ll be a smackdown on the Legislature for funding, and whatever else,” she said.
Washington State Standard is part of States Newsroom, the nation’s largest state-focused nonprofit news organization.
Washington
Community discusses installing locked gates at NYC’s Washington Square Park
Could one of New York City’s most iconic parks soon be surrounded by gates?
At a Wednesday night meeting of the local Community Board’s Parks Committee, tensions ran high over whether or not to install locked gates at Washington Square Park.
The historic Washington Square Arch welcomes visitors from near and far to the park, but when the clock strikes midnight, the police and Parks Department put up French barricades, cross-chained together, until 6 a.m.
Some residents, however, said the barricades aren’t aesthetically pleasing.
“Now it’s time to replace the unattractive police barricades with appropriate gates that really represent the history of that park,” landscape architect George Vellonakis said.
Others said the barricades aren’t effective at keeping people out. One resident shared a photo of a person sleeping overnight on a mattress in the park.
Opponents, however, argued gates aren’t the answer to that issue, and some longtime residents said they hoped the park would be open 24/7.
“I think that the barricades have to go. I think they’re really, really ugly,” one person said. “They’re really hard for the Parks Department and the police to handle, and they don’t work.”
“Particularly Millennials and Gen Z will have these changes for the rest of their lives,” another person said. “I enjoy traveling other similar parks in Europe where you can walk at all hours of the night.”
Back in 2005, the Parks Department considered installing gates but canceled the plan after fierce opposition from the community. A Community Board member said the idea to install gates resurfaced during COVID when overnight gatherings in the park got out of hand.
“We are not anti-gate. We do believe that they should find more effective ways to support the NYPD,” Washington Square Association President Erica Sumner said.
The committee voted on a resolution to formally ask the Parks Department for its recommendations.
Washington
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