Thread: La Divina Comedia: Act 2: Purgatorio (3/26; invite only)

As the audience files out during the first intermission, the lobby is peppered with all manner of “sinners”, a grim reflection of the depths of hell the audience has witnessed on the stage. As it is a private engagement, little has been censored, but is all tastefully represented by the performers. In one corner, a couple, entwined in a dance that mimics intercourse; she without a ring on her finger and he clearly married. In another corner, a staged mugging or rape is played without sound as the female dancer silently “screams” out to the passersby as the male stabs at her stomach, causing her to throw out coiled rolls of thin fabric, colored crimson red, from her stomach. Though each vignette gives enough pause for the audience members to appreciate the art on the outside, perhaps to some, the message thinly veiled beneath the performance is enough to elicit the souls pause within.

The calm atmosphere of the intermission is broken by the scream of a woman as she runs barefoot across the lobby holding hers arms up with slit wrists and a knife in her hand, as a costumed devil chases her with a giddy laugh to a darker portion of the foyer. As she runs past, some of the audience gasp and clutch their chests at such a shock. Those kindred present may be riddled with surprise, but as she passes, the sickly sweet scent of caramelized stage blood is apparent. As she runs, she begins to slow down, clearly growing weak from her self induced exsanguination, until the devil catches her and wraps her in his dancing embrace, turning the horror into a beautiful last moment before he ushers her behind a black curtain. It is only in the poignant final moments that her hands reach out, silently, for someone to help, that he thrusts her through, dragging her to “Hell.”

It’s clear that the subject matter is frightful to some, as the women shake their heads or look away in sadness, yet, none can seem to steel their conviction or walk away. The wraithlike waiters and waitresses have a new coat of make up on and most seem to be flushed with some color to the their cheeks. The foreboding music of the first act has gone and is now replaced by a sense of hopefulness and light. The sounds of the orchestra usher a more sensual tone and are much lighter to the ears. Perhaps for some, the performance has done its duty and elicited the thought that to be humane is in fact the greatest of achievements. To rally against the beasts and monsters clearly present within each person is a goal greater than many can describe. Perhaps that salvation lies not within, but without. The lobby has been decorated with various artistic representations of the Comedy, such as the famous illustrations by Gustav Dore`.

Again, the soft bell chimes, notifying the audience that they have five minutes to return to their seats. For the Kindred in the fourth row, they return to find a single long stemmed sterling rose with an attached, hand written, “Thank you” card. As the Orchestra starts up again, the lights dim to bring on the second Act: Purgatorio.

Having survived the depths of Hell, Dante and Virgil ascend out of the undergloom, to the Mountain of Purgatory on the far side of the world. The Mountain is on an island, the only land in the Southern Hemisphere, created by the displacement of rock which resulted when Satan's fall created Hell. At the shores of Purgatory, Dante and Virgil are attracted by a musical performance by Casella, but are reprimanded by Cato, a pagan who has been placed by God as the general guardian of the approach to the mountain. Christian souls arrive escorted by an angel, singing in exitu Israel de Aegypto. The choir seems to move to and fro as they sing, waving their gossamer sleeves slowly in the air. Whether they are as angels or still wraithlike seems to be left to the audiences interpretations. Though each performer is dressed simply in the robes of old, their facial expressions run the gamut of emotions, lending serious weight to their performance. Each performance, though perhaps trivial to the original concept, has been given its own moment “in the sun”.

Lisette, as Beatrice, steps in and out of each scene with the command and presence of a star, backed by the power of the symphony. Her voice, like a precise instrument, finds every tone and lilt with perfect pitch and form. Those watching can even spot Cocteau’s concentration to not be lost in her voice. {Performance x5}

Corin, stepping softly as the Queen of the Nile, Cleopatra, brings forth an aria of original design, showcasing a voice, it seems, that not even she knew she possessed. There is a sense of accomplishment even she cannot hide as her voice captivates and enraptures. {Performance x5}

New to the city, but not to the stage, Maharet DeErros, as Dido, the Queen of Carthage, brings forth another original aria, telling the tale of lost love and regret. As the anguish of her tale builds, even she threatens to becomes lost in the agony, those whose sight is keen, can even see the begining of crimson tears about to fall…and in that split second before, she deftly turns away, preserving the Masquerade. {Performance x2}

Cocteaus command of the stage with his voice is nothing short of remarkable. As his voice brings sound to the emotions of his character, so too does it bring forth such emotions to the crowd. Audience members sit enraptured as they attempt to comprehend the raw power and emotion in his voice. {Performance x7}

As the Act draws to its close, the lights begin to fall from the choir…to the signature characters…to Virgil and Dante…then, in a quick flash, Beatrice appears, stage left. As the light dies upon her, the stage goes black again…
The lights draw up again as the soft chime allows for 15 minutes before the final Act.

As Emma and Constantino walk through the crowd in the Lobby, he is fairly quiet. He observes each sin and each circle, giving the occasional reassuring glance to Emma, but the attentive can see the wheels in his mind and the reflections or morality on his face. Happening to be standing near the curtain of "hell" as the suicidal woman is chased by the devil his head tilts to the side as he watches her run across the lobby. As she reaches out of final time before the devil drags her down, Constantino's hand stretches forth and her middle finger glides along his upturned palm. She is dragged away and Constantino looks to the floor and slowly lowers his arm.

The pair return to their seats. And make small talk as they wait for the second act. Its obvious his mind is riddled with questions, possibly doubts, but he does his best to hide the fact that he has a decision to make from Emma.

Noticing the new voice joining the fray in the second act, the one only a few can here, his sight shifts into the shadowlands. As the wraithly little girl stands in front of Emma he smiles slightly at the ghost, bringing his left hand up casually and placing one finger over his lips. Constantino then pats the seat beside him gently, offering her a seat, but as she refuses the smile fades and his attention returns to Emma and the enrapturing performance.