I managed to see A Little Too Cozy, the Against the Grain Theatre adaptation of Così fan tutte, on its closing night this weekend. This isn’t a comprehensive review by any means, but a few thoughts on the production that was extensively covered by multiple other media.
The basic idea behind Joel Ivany’s update works well: Fiordiligi/Felicity and Dorabella/Dora have made it to the last round of a reality TV show in which eligible singletons interact with each other via text, email and phone only. Before meeting in person their chosen bachelors, Guiglielmo/Elmo and Fernando, the women have one last test to pass: two ‘new candidates’ (actually Elmo and Fernando, switching girls, tempting fate) trying to seduce them with “A bird you laid your eyes on is better than the one hiding in the bush” shtick. Hosting the show—while sporting cheesy suits–is the devious presenter Donald L. Fonzo (Cairan Ryan), in cahoots with the show’s “talent relations coordinator” Despina (Caitlin Wood).
When the set is an actual TV studio on 10th floor of the CBC building, the feeling of unreality that one gets with the unfolding of Cosi is perfectly founded. You may ask yourself why the women would go through the absurd setup of this TV show to get engaged, but why do people go to reality TV shows in the first place? It’s more to do with becoming famous for 15 minutes than achieving whatever the official end goal of the show is, winning the race, or getting the bachelor. Ivany made the women, particularly Dora, publicity hounds. In a tech-positive affront on the fourth wall, the AtG encouraged the audience in the studio to tweet (suggested hashatags get repeated and flashed on screens) and take photos. As far as I know, this invitation to engage on social media during the performance is a precedent in Toronto, and a very positive one.
And still, Cozy did not manage to eliminate the boring bits of Cosi and this opera, like Mozart/Da Ponte’s, has snooze minutes. TV studio acoustics aren’t very good for unamplified singing and the trademark intimacy of the AtG’s productions was lost this time. A lot of the text for me was lost too, and the lustre of the score in this quartet-with-piano reduction. It was the largest, most warehouse-like space they’ve ever had a show in. Since it was the last show, there was probably some exhaustion to blame, but tenor Aaron Sheppard had very little volume all night, and even the charismatic and hilarious mezzo Rihab Chaieb occasionally produced impure, airy sound. While Clarence Frazer was both funny and sang well and was on all the time, Shantelle Przybylo’s continuous squinting distracted from her sweet and capable singing.
Ivany divided the libretto into segments that happen on camera and those that happen backstage, which is a brilliant touch. His Così libretto, like his Figaro was, is sharply zeitgeist-y and populist. What’s new is that it’s (and this is a compliment) filthy—much filthier than either Figaro or Uncle John was. I don’t know if Ivany knows of Ali Wong’s comedy yet, but her stage persona and Cozy brides-to-be have a lot in common.