'American Apollo' has its world premiere at the Des Moines Metro Opera.
Witness the previously unsung tale of the Black man who became a Greek god in the world premiere of "American Apollo" at the Des Moines Metro Opera.
"American Apollo" tells the story of Thomas Eugene McKeller, who had a chance encounter with famed portrait artist John Singer Sergent and eventually became his muse and maybe even his lover. The opera follows the men as they struggle to navigate their relationship as artist and model, as well as their nascent romance.
"Themes of erasure, the white gaze and the intimate relationship between the two men are explored in this powerful new work," according to the Des Moines Metro Opera website.
The opera's lecturer-in-residence Joshua Borths said the origins of the opera lie with the 2017 discovery of a series of Sargent's sketches. By matching the poses in the sketches to the poses of Sargent's famous works, curator Nathaniel Silver concluded that McKeller must have been the model.
In his notes on the show, composer Damien Geter said, "For many of his most famous works, which are mostly (if not all) paintings of folks of European descent, Sargent used the body of a Black man as his model." This included the white-skinned gods and goddesses that Sargent depicted in murals for Boston's Museum of Fine Art.
Geter and librettist Lila Palmer originally wrote the story as a 20 minute opera, which premiered in 2021. General director Michael Egel then commissioned the pair to expand it into a full production.
The show premieres on July 13, with two more shows on July 18 and 19. Only July 19 still has seats available as of Friday. Tickets start at $50 and can be purchased from the Des Moines Metro Opera website.
Making a world premiere right here in central Iowa
The Des Moines Metro Opera has staged the world premiere of just two other shows. Debuting a show presents unique challenges, especially for one like "American Apollo."
According to general and artistic director Michael Egel, years of work has been done. Director Shaun Patrick Tubbs said that one major project has been building out the aesthetic.
"The show originated with a painter," he said. "So everything swirls and moves." This style doesn't just reflect Sargent, but also his training in Europe, especially with Greek and Roman architecture.
"We got the set concept in 20 minutes at the first meeting," Tubbs said. "Then I had to identify all the elements, props and fine details."
When trying to capture McKeller's perspective things were trickier, as there's less known about him. Justin Austin, who plays McKeller, said this forced them to take some creative liberties.
"The show is based in history, but it's not biographical," he said. To solve this issue, Tubbs said that they thought about what McKeller wanted and needed when bringing his perspective to life.
"Thomas was asking to be seen," Tubbs said. This desire was actualized in Sargent's art studio, where Tubbs said "he sees himself as never before." That meant the studio needed to feel safer in contrast to the more dangerous world outside.
This philosophy extended throughout the design. Many of the finer details were based on how they imagined what the characters needed in different locations. This mentality extended to the casting of the smaller characters in the show.
"You try to cast a variety of voices," Tubbs said. Those main characters, especially McKeller and Sergent, needed to be cast early on. In fact, Austin was already cast as McKeller when the director Tubbs was brought on.
"Justin explores," Tubbs said. "He goes beyond what was expected. I was lucky to just say yes." Tubbs helped cast Sergent, choosing William Burden to play the painter.
"Those two are the crux," Tubbs said. "The story is about their relationship."
Building what the relationship looked like and how the characters interacted allowed the creative team to flex their creative muscles. Austin said it's one of his favorite parts about staging a world premiere.
"We lay the foundations," he said. "We set the tradition."
A message that reframes the narrative, addresses erasure
Tubbs said the show is thematically rich and speaks to current discourse over erasure and representation in media.
"We try to control our world so everything fits," he said. "Then replace anything that doesn't." He hopes the show will help challenge that mentality by demonstrating the human cost of erasure.
"I want people to see what it means to be seen fully and completely," Tubbs said. "I want them to see themselves, to find moments to be themselves and bask in it." He believes that in order to see and accept others, first we need to see and accept ourselves.
Austin wants audiences to gain a better understanding of others as well. He says that while most people in the art world know about Sergent, very few are aware of McKeller. In reframing the narrative, the show aims to highlight how many stories don't get told.
"It's opportunity to realize we're all stars in our own show," he said. "We all share humanity."
Austin points to the murals of Greek gods that McKeller posed for as clear examples of the themes of erasure and white washing.
"For many people the antithesis of a Greek god was a common African-American," he said. "But McKeller was the model for them. It's interesting subtext, right?"
Des Moines Metro Opera's 2024 season starts Friday
"The Barber of Seville"
Figaro the barber does all he can to help Count Almaviva whisk Rosina away from her unscrupulous guardian, Dr. Bartolo.
Dates: June 28, 30, July 5, 14, 16, 20
"Salome"
Princess Salome's growing obsession with imprisoned holy man, Jochanaan, disturbs everyone around her.
Dates: June 29, July 7, 13, 19
"Pelléas & Mélisande"
Pelléas falls in love with his brother's wife, Mélisande, and they struggle to hide their forbidden romance.
Dates: July 6, 12, 17, 21
Ryan Magalh?es is a reporter for the Register. Reach them at [email protected].
This article originally appeared on Des Moines Register: Des Moines Metro Opera 2024 season includes 'American Apollo'
