John Fulljames
John Fulljames © John Fulljames

John Fulljames on Opera de Monte-Carlo’s new production of Weill’s Street Scene

5 minutes de lecture

Opéra de Monte-Carlo is presenting a new production of Street Scene (1946) by Kurt Weill (1900-1950), staged by the English opera director John Fulljames. Mr Fulljames explains his approach to readers of Classicagenda.


The current co-production between the opera houses of Monte-Carlo, Madrid and Cologne is at least your third staging of the work. In 2008, you staged a co-production with London’s Young Vic and Opera Group, and in 2013 you reworked it for performances in Paris and Barcelona. Can you speak about the evolution of your approach to this work ?

It has been such a pleasure to revisit this extraordinary opera over many years and in many different cities.  It is fascinating to me how the story it tells is on the one hand so specific, to time and place in New York, and yet on the other says something so universal about the nature of cities and of our lives on top of each other within them.

It has been fascinating to start the project in an Anglophone country, and more recently perform the project for non-English speaking audiences; I think this makes a very big difference to how the piece is heard.

Street Scene by Kurt Weill
Street Scene by Kurt Weill © Javier Del Real

Street Scene is difficult to classify. Weill referred to it as an “American opera,” different from European operas of his day, in that it was more closely connected to commercial theatre and include many different genres, including jazz, blues, Broadway musical and verismo opera. In staging this work, do you make a choice of aligning yourself with one of these genres ?

The opera really is a melting pot opera – a melting pot of people and also of musical genres. It is very important to respect this and bring out each of the different genres.  The Maurrant’s tragic story is told through an operatic idiom, recognisable from many post-romantic early twentieth-century scores. The life of the children on the street is a much lighter form of musical theatre (“Wrapped in a Ribbon” and the children’s song which starts Act 2).   The young generation as represented by Mae and Dick think they are in a Broadway musical! All of these things need to co-exist.

The opera really is a melting pot opera.

What is the role of dance in this production ?

Elmer Rice’s play, Street Scene, on which the opera is based, is a piece of realism.  In adapting the work into lyrical piece of course Weill leaves realism behind – as he allows us to go inside the emotions of the characters.  This is most clear in the dances I think – which release something of the fantasy of the characters.   The Street is a place from which there is a little escape – but dance usually offers the fantasy of escape, whether it is the social dance of the graduating girls, the oily dance of Mr Easter’s attempted seduction of Rose, or the drunken fantasy of Mae and Dick in the early hours of the morning.


Street Scene by Kurt Weill
Street Scene by Kurt Weill © Javier Del Real


One of Weil’s theoretical imperatives was to set Street Scene in the present of the time he wrote it: that is, the first half of the twentieth century. Although this period is fairly recent (as operas go), is there still a temptation to update ?

Weill updated the play from its original setting – musically it is clearly a piece written in the middle of the twentieth century – even though it belongs more to the 1930s or 1940s than the 1950s.  We weren’t tempted to update it – it is based so strongly in realism this would be a very hard thing to do while also maintaining a credible relationship to the text.


The cast of Street Scene, with over thirty characters, is unusually large. What are the particular challenges this presents ?

Street Scene is a very challenging opera to cast; every character needs to be very carefully planned to take the right role in the story and every performer needs to have just the right mix of skills with singing, in the right style, acting and dance.  But then when you ensemble the company it really is a joyous piece – one which performers tend to love being part of – perhaps because there is such a strong sense of community on-stage.

The Street is like the character that will endure the longest when the people have passed through and moved on

Clocking in at three hours, Street Scene is a long spectacle, but the basic set—a street in front of a Lower East Side tenement—remains constant throughout. As a stage director, how can once create dynamism in this static situation ?

So much of the power of Street Scene of course comes from the Street and the buildings on it; there is a sense that the building has seen everything before and will see it all again. The Street is like the character that will endure the longest when the people have passed through and moved on; we see a new family moving into replace the Hildebrands at the end of the opera.  It is compelling to see how the Street changes as day turns to evening and into night and eventually dawn, as the people who pass through it change.  It really is utterly transformed despite being the same street.   And of course in the show we are not bound by realism; the Street exists as a psychological space as well as a real one, so as we enter the fantasies which the music conjures, the street and buildings evolve in ways which real buildings never do.  The sewage pipes are the veins of the building, the creaks are its breathing and when the people inside dream the building stretches in empathy with them.

Street Scene (1946) by Kurt Weill
Street Scene (1946) by Kurt Weill © Javier Del Real

Street Scene

Opéra en deux actes

Musique de Kurt Weill (1900-1950)

Livret d’Elmer Rice basé sur la pièce de théâtre Street Scene (prix Pulitzer 1929) du même auteur

Création : New-York, Adelphi Theatre, 9 janvier 1947

Nouvelle production, en coproduction avec le Teatro Real de Madrid et l’Opéra de Cologne

Direction musicale : Lee Reynolds
Mise en scène originale : John Fulljames
Réalisée par Lucy Bradley
Décors et costumes : Dick Bird
Chorégraphie : Arthur Pita
Lumières : James Farncombe
Conception du son : Fergus O’Hare
Chef de chœur : Stefano Visconti
Etudes musicales : William Hobbs
Pianiste répétiteur : Mari Lili
Assistante à la mise en scène : Vanessa d’Ayral de Sérignac
Assistante à la chorégraphie : Valentina Golfieri

La famille Maurrant
Frank Maurrant : Paulo Szot
Anna Maurrant : Patricia Racette
Rose Maurrant : Mary Bevan
Willie Maurant : Joseph Sonne (Chœur d’enfants de Dortmund)

La famille Jones
Emma Jones : Lucy Schaufer
George Jones : Gerardo Bullón
Mae Jones Emma : Kate Nelson
Vincent Jones : Rudolphe Pignon

La famille Olsen
Olga Olsen : Harriet Williams
Carl Olsen : Scott Wilde

La famille Kaplan
Abraham Kaplan : Geoffrey Dolton
Sam Kaplan : Joel Prieto
Shirley Kaplan : Veronica Polo

La famille Fiorentino
Greta Fiorentino : Jeni Bern
Lippo Fiorentino : Pierre-Emmanuel Roubet

La famille Hildebrand
Laura Hildebrand : Debra Maxine Trattner
Jennie Hildebrand : Marta Fontanals-Simmons
Charlie Hildebrand : Lukas Renz (Choeur d’enfants de Dortmund)
Mary Hildebrand : Leane Fourgon / Maëly Orengo

Les visiteurs de l’immeuble
Dick McGann : Alan Burkitt
Harry Easter : Richard Burkhard
Steve Sankey : Benoît Gunalons
Première nurse : Emma Kate Nelson
Seconde nurse : Laurel Dougall
John Wilson : Mario Marrone
Officier Harry : Murphy Ben Robson
James Henry : Adrian Fisher
Fred Cullen : Nicolas Leroy

Les autres résidents de l’immeuble
Daniel Buchanan : Tyler Clarke
Henry Davis : Mandisinde Mbuyazwe
Grace Davis, rôle parlé Lauren Vanhecke (International School of Monaco) / rôle chanté Drean Azilis (International School of Monaco)

Seconds rôles
Ms Davis : Ludivine Colle
Le Laitier : Ben Robson
Le Voisin communiste / Un ouvrier Mario Marrone
Un ambulancier / Un nouveau locataire Rudolphe Pignon
Un vendeur de glaces Adrian Fisher
Un clochard / Troisième policier Nicolas Leroy
Un conducteur d’ambulance / Deuxième policier Stephan Ramirez
Un homme en smoking / Un ouvrier / Premier policier Bastien Leblanc
La Mère / Une nouvelle locataire Priscilla Beyrand
Joe Frederico Romeo Cheston
Une violoniste Sofia Natoli / Joya Marquez
Joan (chanté) Freya Banks Clark (International School of Monaco)
Joan (parlé) / Myrtle Tiffany Hjelm, Enza Goossens (International School of Monaco)

Danseurs Roberto Pereira Barbosa Jr, Cesar Salas
Danseuses Giulia Fabris, Natalia Andrea Lopez Toledano

Chœur d’enfants de l’Académie Rainier III
Chœur de l’Opéra de Monte-Carlo

Orchestre Philharmonique de Monte-Carlo
International School of Monaco

Jacqueline Letzter et Robert Adelson, historienne de la littérature et musicologue, sont les auteurs de nombreux livres, dont Ecrire l'opéra au féminin (Symétrie, 2017), Autographes musicaux du XIXe siècle: L’album niçois du Comte de Cessole (Acadèmia Nissarda, 2020) et Erard: a Passion for the Piano (Oxford University Press, 2021). Ils contribuent à des chroniques de concerts dans le midi de la France.

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