At the close of Pittsburgh Opera’s production of “The Passion of Mary Cardwell Dawson,” the titular character sings, “Remember me, remember me.” As for this show, it’s easy to heed.
Despite being a Pittsburgh Opera production, “Passion” is a play, although it does include original music sung operatically, as well as selections from the opera “Carmen.”
Penned by Sandra Seaton, it’s a snapshot in the life of Dawson (Alyson Cambridge), an unsung hero who founded the National Negro Opera Company in the Homewood neighborhood of Pittsburgh. In this story, the company is set to put on a concert on a floating stage outdoors, however a massive storm threatens their plans. Dawson’s option is to stage the show at an indoor venue — but the theater will only allow racially segregated seating. Thus, while she and three young performers rehearse for the concert, she must wrestle with her deeply held principles and her desire for the show to go on.
The play runs about 70 minutes, with a cast of four actors and one pianist as musical accompaniment. In that time, the audience seesaws with Dawson and the young people she is directing as they debate the issue at the show’s heart. Their discussions were often punctuated with rolling thunder and flickering lights — adding urgency and tension to the scene. “Passion” is deftly and dynamically directed by stage director Kimille Howard.
As Dawson, Cambridge is a force of nature onstage: Fiery, charming and funny, but vulnerable when necessary. Her singing voice was so expressive and moving, as well, and she controlled it beautifully to convey both joy and sorrow. Her effervescence is unforgettable.
A highlight of the evening was Dawson’s interaction with the three performers she coached in rehearsal. Frank (Christian Mark Gibbs), the dashing tenor who plays the male lead; Phoebe (Jazmine Olwalia), the initially reticent leading lady who comes out of her shell; and Isabelle (Meroë Khalia Adeeb), the confident supporting soprano looking to be discovered, gave excellent performances, especially in the selections from the 1875 opera “Carmen” that they are tasked with singing. The three also do a remarkable job in their interactions with Cambridge, often in humorous moments, but also touching ones.
For a play with such a short runtime, the three characters clearly blossomed and developed under the tutelage and mentorship of Dawson. All three actors — and especially Olwalia — portray that development exceptionally.
All of the lovely operatic singing was accompanied sparely but beautifully by music director Marvin Mills on piano. His melodic presence was in contrast to a lot of the other sounds of the play, which were often intentionally loud and discordant — for example, a repeatedly ringing telephone and increasingly urgent thunder.
Todd Nonn’s lighting design, which flickered during the storm and was soft and colorful during the dreamier, emotional moments of the play, pulled the audience in. The set design (James F. Rotondo III) also employed realistic and dreamier elements, especially at the show’s end, utilizing the space efficiently without sacrificing creativity.
Also notable were the costume design (Jessica Jahn) and wig and makeup design (Izear Winfrey). “The Passion of Mary Cardwell Dawson” takes place during the 1940s and their choices for clothing, makeup and hair were period-appropriate and also striking.
Dawson is a legendary figure worth learning more about, and this story should make any theatergoer want to know more about her life and the vital battles she fought for Black opera performers. It is entertaining and educational, full of humanity and history — and sensational singing.
In fact, the theater itself is prepared with more information. A series of displays throughout the Byham’s lobby, provided by the Denyce Graves Foundation, contain a lot of information about Dawson, as well as the National Negro Opera Company. They are well worth taking in for a closer look at the broad scope of Dawson’s legacy.
“The Passion of Mary Cardwell Dawson” will run through Sunday at the Byham Theater, Downtown Pittsburgh. For more information and tickets, visit pittsburghopera.org.
