Das Barbecü – The Country/Western Ring Cycle – A Hoot!

There’s a ring of gold in Texas/There’s a ring of magic gold/There’s a ring of gold in Texas/That is wondrous to behold/The owner of the ring becomes the king we must obey/Unless some other king gets in his way… (an implicit Yeehaw! echoes)

Those of you familiar with Richard Wagner’s Ring Cycle will recognize its plot point with the additional: The ring started out as a chunk of gold/that sunk/kerplunk!… First produced by the Seattle Opera in 1991, Das Barbecü both embraces and veers from its source with gleeful irreverence. The lively, well directed, country/western piece is smart enough to entertain genre aficionados and civilians alike. If unacquainted, it wouldn’t hurt to read a synopsis first, but you’ll get it- just might take a tad longer.

Justine Aronson (Gutrune)

The story: A ring with the power to rule the world, forged by the dwarf Alberich, has been stolen from Rhine Maidens (here a synchronized aquacade replete with garish polka dot towels, blue flippers, arm inflatibles and nose plugs) with whom it was hidden.

The ring passes from the god Wotan (J. Peterman cowboy coat, hat, and eye patch) to giants Fafner and Fasolt (here construction workers) in payment for building Valhalla. Woton’s plans to steal back the magic jewelry crosses generations trying the patience of wife, Fricka who’s rattling around in an empty home: “I’m humiliated to be domiciled in a 21st Century copy of Ver-sails.” Mortal grandson Siegfried (in all white with rhinestones) retrieves the ring by slaying Fafne, but is – spoiler alert – eventually slain himself.  

Siegfried is affianced to Valkyrie Brunnhilde (denim jacket with red sequin wings on the back, red boots) who escaped from her father’s not-to-be-forgotten ring of fire, at which others fondly recall roasting marshmallows. Drugged, Siegfried becomes a “Rodeo Romeo” and proposes to lonely Gutrune (all tulle and fringe “like goddamn Annie Oakley at her first Communion”). Lately I’ve been overworked and very undergirled, she sings. Both are pawns in a plot to get the ring.

Wedding advice includes “Hogtie Your Man” – Save the honey for the flies/When it comes to catching guys/Put all your hope-in rope… and a good recipe for “Guacamole” (instead of daily bread).

Jessica Fishenfeld, Zuri Washington, Justine Aronson

Meanwhile Brunnhilde is kidnapped (hoisted over a shoulder) by the lustful Hagen (imagine a narcoleptic logger). Incipient husbands go off to hunt leaving frustrated mates with a ton of festivity food. Yes, Virginia, there is a ham!/to help you wallow in every swallow…what’s lurkin’ under that gherkin?/Do you see a/ quesadilla? the brides sing, reconciling themselves with “Barbecue for Two.” Sworn enemies become friends.

The ring finds its way home (beautifully imagined visual), as does Wotan (in a sweet ballroom dance.) It’s as if we sit in the calm center of a diverting cyclone played literally all around (tables). I admit to not being sure I understood all the filial relationships, but what a lark!

Jim Lugis’ lyrics and dialogue are extremely clever; music by Scott Warrender an appealing range of melody and style. The play is long. Fifteen minutes or more could be successfully cut. (Perhaps a flashback?)

In the course of two hours (with an intermission) five multi-talented performers manifest gods, mortals, Valkyries, Rhine maidens, and giants in the convoluted Wagner story that can take 15 hours to unfurl as classic opera. They sing- broad, balladic, R & B, or brassy in faux Texas accents, move with energy and humor, and dance. Justine Aronson is an especially talented comedienne; Zuri Washington (also dance captain) and Robert Weasley Mason, chameleons. Everyone has fine voices and, it seems, an infectiously good time.

Cast members wear restaurant t-shirts, black server aprons, denim, and cowboy boots over which clever, ersatz western wear indicates character. (There’s a pictorial key on your placemat.) Costume designer Whitney Locher offers just the right combination of cowboy, kooky, and apt. (LOVE the River Maidens.)

Robert Wesley Mason (Wotan), Zuri Washington (Fricka)

Co-Directors Eric Einhorn and Katherine M. Carter do a superb job of moving the cast around so everyone gets up front exposure. A few scenes mistakenly played on the floor below stage level (at one end of the room) are lost/out of view, however. This is easily fixed. Synchronized movement emerges droll. Characters/attitudes arrive diverse, mercurial, clear.

Emily Senturia conducts members of The American Modern Ensemble: a fiddle, keyboards, guitars and drums in Broadway tinged country/western. The band is excellent.

Sound design could use some tweaking of vocals, sometimes losing word intelligibility with group songs.

Dinner is family style at long tables. Having only eaten downstairs, I wouldn’t be inclined to dine at the restaurant above. Given that quantity preparation may be corrected over time, as it stands: the beef brisket is dry and unflavorful, chicken is better, though also dry. Sweet potato bourbon mash is very tasty, Longhorn cheddar mac & cheese viscous and not very cheesy, corn muffins fine. Banana pudding suffers from the same issue as the mac and cheese. Red velvet cupcakes are fair. Unlike many dinner theater experiences, there’s plenty of food. Separate barbecue sauces work well to improve meat and fowl. Stick to the chicken.

Dinner seating – $95 (includes family style BBQ dinner)
Bar seating – $60 (no food service available)
A full cash bar is available with all seating sections. 

Photos by B.A. Van Sise

On Site Opera presents Das Barbecü
Book & Lyrics- Jim Luigs
Music- Scott Warrender
Co-Directors- Eric Einhorn & Katherine M. Carter
Hill Country Barbecue  
30 West 26 Street

About Alix Cohen (1706 Articles)
Alix Cohen is the recipient of ten New York Press Club Awards for work published on this venue. Her writing history began with poetry, segued into lyrics and took a commercial detour while holding executive positions in product development, merchandising, and design. A cultural sponge, she now turns her diverse personal and professional background to authoring pieces about culture/the arts with particular interest in artists/performers and entrepreneurs. Theater, music, art/design are lifelong areas of study and passion. She is a voting member of Drama Desk and Drama League. Alix’s professional experience in women’s fashion fuels writing in that area. Besides Woman Around Town, the journalist writes for Cabaret Scenes, Broadway World, TheaterLife, and Theater Pizzazz. Additional pieces have been published by The New York Post, The National Observer’s Playground Magazine, Pasadena Magazine, Times Square Chronicles, and ifashionnetwork. She lives in Manhattan. Of course.