In The Green - Theatre Elision

Photo: Jolie Morehouse Olson

 This was my first time seeing a production by Theatre Elision. They perform, naturally, at Elision Playhouse in Crystal, and they have a  goal of telling compelling stories with music. Last nights opening night of Grace McLean's In The Green certainly matched their goal perfectly. I knew nothing about the show going in and was truly amazed by the piece, and by the production. So, continue to read my thoughts or not - but do go get a ticket to see the Midwest Premiere of an amazing work.

In The Green is about Hildegard von Bingen. If you were anywhere around music stores, or PBS in the late 1990's, you may remember a lot of talk about her music and specifically a CD named Vision: The Music of Hildegard von Bingen, or possibly an album named Canticles of Ecstasy. She was a trend for a while, and that was all that I knew of her. In The Green, using some theatrical and literary freedom, shows us some of her unknown story. What is known is that in 1106, at the age of eight, she was given as a tithe to the church (being the tenth child of ten, the church gets 10% of everything). She was put in a monastic cell with Jutta. Per the show, both women are broken inside. Jutta has been in the cell for years, and Hildegard is put in there to help heal herself. Through out the evening we see Jutta's process of helping Hildegard heal, as well as how Hildgard deals with her own brokenness and healing. We find out what broke Hildegard, but never find out what broke Jutta. The transformation and the healing is what is important.

Photo: Jolie Morehouse Olson

The story is told by a cast of five. Christine Wade, along with being the Vocal Director of the show and the Managing Director of Theatre Elision, plays Jutta. As Hildegard is broken, McLean has created three roles that act as Hildegard - Abilene Olson plays Hand, Annie Schiferl plays Eye, and Deidre Cochron plays Mouth. Through out the work and the healing shown, eventually Hildegard becomes one and is played by Olson. Finally, a mystery character named Shadow played by Emily Hensley. These five performers are incredible. Their voices blend so well with each other, and each also has a powerful voice in their solo portions. Hand, Eye, and Mouth sing a lot together and are so strong. Jutta, using a Looper to create vocal loops, is amazing to watch as Olson creates the loops and then sings with them, and over them, and in contrast to them. Shadow slinks on the floor but later in the work we find out who she is and what she knows. Each vocalist is incredible to listen to.

Photo: Jolie Morehouse Olson

McLean has written a work that I think is brilliant. The way she mixes the close harmony and chant style of Bingen's original work (some of which is included), along with the art of vocal looping to create such an original work. You can find a clip of McLean performing "Eve" on her website. While In The Green premiered back in 2020, it felt like a work that would be done as a fringe show, or part of the Walker Art Center's Out There Performance series. It is unique, and challenging in ways while being such a joy to watch and listen to. This production, directed and designed by Lindsay Fitzgerald, and with work by assistant director and movement coach Madeline Wall is truly amazing. There are three platforms on the stage with a scrim hanging down across the center of the platforms. This creates a front and back playing space - the back mainly being in shadow. However it also allows for some video backdrop when needed. The work has to be a challenge to perform, or even direct and produce - but you don't see any of the struggle during the performance. The actors are there, living it, breathing this music and experience and it is wonderful to watch and experience with them. 

I had not heard of Grace McLean before. I am now very interested in hearing her other work. This piece has such a mix of old and new using Bingen's own writing, adding vocal loops, percussion, bass...yet the voice is the key through out. It reminded me of early Philip Glass, or Meredith Monk in some of the rawness of the vocal lines, pushing the performers to use their full vocal range. It truly is a stunning work and plays through March 9th. It is approximately 90 minutes with no intermission. Take a chance on something new, and support a wonderful company doing some very compelling and exciting work.