Two Oars is a new work based on Ernest Hemingway’s novel The Old Man and the Sea by Robert Wilson and Paola Prestini.
Special thanks to the Mordant Family and Leila Straus for their commissioning support of the workshops for Two Oars.
During the table workshop at Watermill from 2015 & 2016, a draft was made of the shape, structure and cast of the work. The opera will be approximately 90 minutes long and consist of 7 parts (music) with spoken knee-plays (no music) before and in between (total of 8). All characters are related to the Old man, reflecting different aspects of him. There will be a mezzo soprano and baritone, a lead cellist (Jeffrey Zeigler) and three or four more singers for the principal roles. Apart from the singers, a dancer will be included in the cast as well as one or two narrator figures. A full chorus of some 40-60 singers (at times just the men choir would perform, at other times the full chorus) will be placed behind the audience, then move towards the stage, even walking through the water. The work will be multi-lingual with English and Spanish as main languages and the local dialect of the descendants of the African slaves on Cuba (Lucumí, a dialect of Yorùbá) as a third. Text ranges from Hemingway to Ezra Pound, and baseball statistics to star charts.
The stage will be placed facing the sea with the ocean as the main element of the “set” to be seen through the open frame of the proscenium. In front of the proscenium, there will be a platform for the narrator(s) traveling from left to right during the whole time span of the performance. There will be a circular gangway stretching out into the sea behind the stage.
I have tried to write Paradise Do not move
Let the wind speak that is paradise.
Let the Gods forgive what I have made
Let those I love try to forgive what I have made.
CAST OF CHARACTERS
Old man, Cellist/Baritone, struggling against age, poverty, loneliness and morality to maintain his identity and dignity, reestablish his reputation in the community.
Counter tenor. Represents love, belief in Santiago, wants to learn from him.
Improviser. Gives Santiago directions and is in dialogue with his inner monologue. Can be wild and wicked.
WIFE/ VIRGIN DE COBRE
Soprano. The wife is perpetually on a “mirador”. She looks to see for Santiago, and is now a ghost, folded away beneath his one clean shirt. She is a memory, a dislocated voice.
Mixed Chorus. Spirits, legends, slaves, fishermen and nature.
Dancer. This eighteen foot fish is a struggle, persistence, communion of man and nature, death.
The Old Man and the Sea is the last major work of Ernest Hemingway (1899-1961) earning him the Pulitzer Price in the year of its publication (1952) and contributing to the decision of the Nobel Prize committee to honor the US-American author with the Nobel Prize in Literature in 1954. The novel is situated in Cuba and tells the story of an old fisherman who has lost the respect of his fellow-villagers after not having caught any fish for nearly three months. A boy that used to go fishing with him was forced to abandon him. One day, he goes out far from the shore and catches a giant Marlin. After a three-day-long fight he kills the fish. However, until he can bring it home, the fish is eaten up by sharks the old man cannot defeat. He reaches the harbor with only the skeleton of the Marlin left. But the other fishermen are so much impressed by its size that he regains dignity despite his defeat. In addition to visual references and inspirational images, a number of suggestions have been collected for the text of the 8 knee-plays including passages from Ezra Pound’s The Cantos, a letter of Hemingway’s to Marlene Dietrich, Nautical terms, Baseball statistics of the 1950s and a quote from Stephen Crane’s novel The Open Boat (which could also be sung as a chorus chant) as well as prayers like the Our Father or the Hail Mary in Lucumí. A draft of the structure has been put together as a basis to continue on.