A Magical Unicorn By Joan Reinthaler Tuesday, May 20 1997; Page E03 The Washington Post Back to Reviews Back to Home

Time is being kinder to Gian Carlo Menotti's music than a lot of critics have been, and with perspective it is becoming clear that his theater piece "The Unicorn, the Gorgon and the Manticore" is not only an extended metaphor for the idealized poet's rocky relationship with society but a personal metaphor for his own such relationship. "We detest all, except, what by fashion is blest," sings the chorus of townsfolk, as they seek to pronounce judgment on the nonconformist "Man-in-the-Castle." "And forever and ever, whether evil or good, we shall respect what seems clever." This pretty well says it all. Menotti's music has never been judged fashionable. It is too accessible for some, too topical for others and not serious enough for many. But it wears well, and after 40 years "The Unicorn, the Gorgon and the Manticore," scored for chamber chorus, nine instruments and dancers, can still enthrall. The 19-voice Circle Singers, dancers Robert Sidney, Alison Crosby, Jennifer Olin and Matthew J. Gayton, and a fine instrumental ensemble collaborated in a magical performance of the piece at the Bradley Hills Presbyterian Church on Sunday. The singers are the voices of the characters: the "Man-in-the-Castle" -- whose unconventional pets, a unicorn, a gorgon and a manticore, represent the three ages of man; the count and countess, wedded to fashion but easily seduced into desiring these strange pets; and the rest of the townsfolk, who follow the count and countess in pursuit of the fashionable. Under the direction of conductor Sondra Proctor, the chorus, singing the score from memory, projected both the text and the sense of the text with wonderful clarity. The imaginative efforts of choreographer Lucy Bowen McCauley and stage director Martha Mountain made it seem as if the piece had been written for that church. The dancing was joyous; the chorus blocking worked well and was ideally timed to the instrumental interludes; and the audience response, in laughter at absurdity and in silence at the touching conclusion, spoke to the quality. The concert opened with a nicely sung set of spring madrigals and part-songs.