Juggler of Notre Dame

Reviewed by Holly Bartges

Of the three operas currently performing at Central City Opera this summer, Jules Massenet’s The Juggler of Notre Dame is by far the most awesome, thought provoking, emotionally charged production.

Set in France immediately following WWI, Juggler tells a simple story about a simple down and out street performer, Jean le Jongleur, dramatically sung by International opera star, Jon Garrison. Originally, the term jongleur simply meant a street performer who had a variety of tricks up his sleeve. For Jean, his tricks no longer work, if they ever did. In his forlorn, forsaken mind he has nothing else to give to anyone. He does have one thing left to his favor, his undying faith.

The townspeople jeer him, demanding he sing a drinking song. Before singing Le vin, c’est Dieu, (The wine, it is God) Jean begs forgiveness from the Virgin. Somewhat assured she has done so, he sings the raucous tune. The Prior however isn’t so willing to offer forgiveness for this sacrilegious behavior. Sung by International opera star Gaetan Laperriere, Le Prieur threatens the frightened Jean with eternal damnation. Forgiveness doesn’t come by asking. He has to earn it. Jean must give up his insulting trade for that to happen, and offers Jean the opportunity to live at the Abbey. Poor and hungry as he is, he fears losing his freedom until he sees the food Boniface, the Abbey’s cook has just purchased. International opera star Eduardo Chama performs the Boniface role.

With a simple elegant set designed by Peter Harrison, the backdrops feature gorgeous impressionistic paintings revealing different images every time they’re looked at. Because of their beauty, they are almost a distraction except for the demanding and gripping characters of the story. The paintings clearly say Church rules with an overbearing authority.

Jean is lost at the Abbey, surrounded by self-edifying monks who squabble over whose art is the most significant. It is Boniface who supplies the kindness and wisdom for Jean, clearing his fogged head setting him on a rebellious spree against Le Prieur, to demonstrate the one thing he has: his faith.

This is a story of faith versus pride. This is a story of strength in faith no matter how desperate the situation may appear.

Directed by Ken Cazan, with the small stage, some of the action between the over pious monks takes place far stage right and the view is blocked for those sitting on the far left of the opera house. When ordering tickets, ask for seats closer to the center if possible. Ultimately, the blocking works it out. The English translation of the French clarifies what is going on, but the antics of the monks are delicious.

The voices are magnificent. The expressions, precise. Laperriere commands authority. Chama balances the upstart monks with contentment and a soft-spoken pride in who he is and what he is about. The monks have a great deal to learn from him, even Le Prieur. Garrison richly portrays a lost and lonely man who has nothing but his faith.

Gripping, emotional, strong, and passionate, Juggler speaks reams to our upside down crazy world. Authority and control may scream, “I have the power,” but simple steadfast faith knows its course.

Costumes designed by Alice Bristow are unique with impressionistic ambiance. Bold, stark lighting, designed by David Jacques becomes a part of the magnificence of the total performance.

The course Jean carves for himself reveals his desperation, determination, agony, and strength. Heart wrenching, yet triumphant, the Virgin, as rendered by Massenet, glorifies her own sense of power. The impact rides for days afterwards.