
Philip Glass' Kepler has been produced in Europe before and has been performed in concert versions in the US, but on Saturday, May 25, the work was given its first full-scale US production at Charleston's Sottile Theatre, where it continues through June 2. The repeating arpeggios of Glass' music can test even the most fastidious orchestra's accuracy, but the orchestra, especially during the second act, was able to develop the piece's subtlety and power on opening night. Kepler is an abstract work in which the central drama is a shift in consciousness, as it is in many of Glass' operas: the German astronomer Kepler, who believed that God had hidden himself in the mathematical principles of the universe, fundamentally changed how human beings perceived the cosmos. The chorus ending Act I is especially dramatic as the members of the church sing out an accusational "Vanitas vanitatum" (Vanity of vanities). The church took his work as a challenge to a theistic view of the universe, even though it was not his intention.
Because the piece is so cerebral and meditative, staging it can be a challenge. How do you make a set piece that shows a changing mathematical conception of the universe? Although the minimalist backdrop and simple costumes of the American production do allow for a spacious, undistracted contemplation of Glass' music, things are a bit too static. The feeling is often more oratorio than opera, and a giant screen seems underutilized. When the screen briefly shows a slowly moving, abstract image of a smoky, revolving galaxy, the work truly comes alive.

Also the subject of festival buzz this year were performances by the Alvin Ailey American Dance Theatre. Charleston's delighted surprise served to remind us how lucky Atlanta is to have such a strong relationship with the Ailey company and its annual visits to the Fox. It's an amazing company that puts on a killer show. We'll be generous and share with Charleston.

At the artist's talk that filled a theater in the Simmons Center, Yamamato explained through a translator that his salt pieces are created in memory of his sister who died in 1994 of brain cancer: each swirl in the pattern represents a small memory of her, and through the process of creation, he seeks to connect back to her memory. A central part of his process is the dismantling of each installation, as members of the community sweep up the salt and carry it back to the sea. The Charleston dismantling will take place on Saturday, July 7, at 4 pm.
Still ahead are more performances of the Gate Theatre of Dublin's production of Noël Coward's Hay Fever, concerts by k.d. lang and Mavis Staples, dance by Cedar Lake Ballet and performances by the controversial monologist Mike Daisey. The festival continues for two more weekends. Check Spoleto for details.