In every production this year, Opera Theatre of Saint Louis has hit the ball out of the park, but Susannah is a grand slam. It has singing, playing, direction, and design of the highest order.

Carlisle Floyd’s 1955 opera is based on the story of Susannah and the Elders in the Book of Daniel’s 13th chapter. It is in the Bible of some denominations and the Apocrypha of others. Both Susannahs are falsely accused after elders catch sight of her bathing in what she thinks is a private place. The opera’s authority figure, Reverend Olin Blitch, is no Daniel. He cannot persuade his congregation of Susannah’s innocence, and he succumbs to his lust when he meets with Susannah alone.

As Susannah, Janai Brugger gives a performance of extraordinary beauty. The joy in Susannah’s first aria and the desolation in her second demonstrate the astonishing emotional range of Brugger’s portrayal. Thanks to William Guanbo Su’s gorgeous voice and compelling interpretation, Blitch makes a totally convincing journey from self-assured pastor to mortified sinner.

Also in the excellent cast are Frederick Ballentine as Susannah’s hotheaded brother, Sam; Christian Sanders as Little Bat McLean, the friend who betrays Susannah; Keith Klein as the unrepentantly judgmental Elder McLean; and Elissa Pfaender as the equally hardhearted Mrs. McLean. The ensemble’s fine English diction was coached by Jennifer Ringo.

In a fascinating program essay, conductor Gemma New shares her deep understanding of Floyd’s music. She demonstrates the same insight in leading the St. Louis Symphony in a marvelous account of the score.

The director is Patricia Racette. Her remarkable grasp of Susannah is no surprise. She played the title role many times herself. It was her first operatic experience in college, she says in an interview in OTSL’s program, and later she “developed a personal rapport” with the composer. Her direction engenders vivid interpretations and inexorable drama that gives the OTSL staging tremendous impact.

The design team has collaborated on a brilliant evocation of the opera’s setting, New Hope Valley, Tennessee. Because the small, Appalachian community is deeply religious, a church is a key part of the set, but the façade is nearly horizontal rather than upright in Andrew Boyce’s clever scenic design. The windows light up for action in the church. At other times, the façade is just a platform.

Video Designer Greg Emetaz establishes the location of each scene with images projected from the front on the stage’s rear wall. One of the images is a stunning photograph by J. David Levy. When the voyeuristic elders are spying on Susannah, the striking projection is an impressionistic video of the back of Susannah’s head as she rises from the water. The stars of the night sky appear directly above the audience as well as behind the singers. Eric Southern’s lighting focuses the audience’s attention and signals the time of day without ever interfering with the projections.

The characters in New Hope Valley may think alike in their bigoted rejection of Susannah and Sam, but their appearance is highly individual thanks to costume designer Kaye Voyce and wig and makeup designers Krystal Balleza and Will Vicari. Seán Curran’s choreography and the chorus reveal the joy that is possible in the community Susannah wants to be a part of until it rejects her.

Susannah was originally scheduled for OTSL’s 2020 season, which had to be canceled because of the pandemic. The delay led to a complete rethinking of the design. I’m sure the 2020 production would have been wonderful, but this year’s designs show what is possible when great artists are open to new possibilities.

—Gerry Kowarsky

Photo © Eric Woolsey
Janai Brugger as Susannah Polk in Carlisle Floyd’s Susannah.