The greatest feature of art is its ability to reflect life. Art can offer an escape in many forms during a contentious, stressful election year such as this, whether through film, music, television, or a comedic opera like “Scalia/Ginsburg.”
Riverside Theatre’s 2024-25 season opener is a bold experiment for the company. I tend to associate opera with grandiose theaters decorated with flashy ornaments, and I expect the performance itself to be more elevated than other genres of live performance, featuring extravagant costumes and sets.
“It’s an ambitious piece to open our season,” Director Adam Knight said. “I caught the opera bug years ago during my time in New York, but I’m a lifelong fan of good music. So, it’s important to me that when Riverside does choose to do musical productions, they’re at the highest level.”
“Scalia/Ginsburg” meets this high standard that Riverside consistently sets. The operatic pieces are miraculous, and seeing a live orchestra on stage is exhilarating, given the tight space in which Adam Knight and the crew must work within.
A live orchestra is thrilling no matter the show, but on Riverside’s more intimate stage, the seven-person orchestra soars. The proximity to the musicians — being able to see every touch of the keys or hit on the drums — just adds an extra layer of immersion.
While a legal-comedy opera might sound like too many genres to juggle, the show balances the tones well. You don’t need a law degree to understand the courtroom jargon — any of the important court cases referenced are provided with enough context for audiences to understand their use.
Ginsburg’s progressive opinions paved the way for precedent about gender discrimination, abortion, and the freedom of religion. Her colleague for many years, Scalia is notable for the number of dissents and conservative opinions on same-sex marriage, gun control, and civil rights.
Despite their ideological differences, many people might not be aware of their real-life bond.
“The real Scalia and Ginsburg shared a love of opera,” Adam Knight said. “This story explores that relationship in a funny way because, comedy and opera, those are two art forms that sort of cross political lines. Anyone can enjoy an opera and anyone can laugh.”
Friendship despite political leaning is a major theme of the opera, and one that feels entirely prescient right now. While the opera is comedic, over the top, and ridiculous, the powerful message of unity is a theme anyone can feel moved by.
Scaling the spectacle of an opera performance to a cast of three, a smaller space, and a smaller orchestra works perfectly in “Scalia/Ginsburg,” thanks to its structure. The show, created by composer-librettist Derrick Wang, is a one-act opera with a runtime of 60 minutes.
This short runtime works in the show’s favor, as every minute is valuable and impactful. “Scalia/Ginsburg” follows Antonin Scalia, played by Foo Chen Gui, and Ruth Bader Ginsburg, played by Mary Jane Knight, as they find themselves locked in a spiritual legal debate with The Commentator, played by Phillip Lopez, in which their souls are on trial.
All three performers blew me away several times throughout their solo arias. The setup of the trial allows each of the characters at least one song to let them shine. Gui particularly brought down the house several times in the opening number alone, setting the stage for the high caliber of vocals the audience could expect.
Mary Jane Knight stole the spotlight upon her introduction with a poppy, high-octane number flooded in purple light.
Additionally, the physical performances were dialed up across the board to overdramatize the mundane legal discussions. Lopez, particularly, delivered some excellent cartoon-villain facial expressions that made the show delightful to watch.
Overall, “Scalia/Ginsburg” is a fresh, thrilling start to Riverside’s new season. Instead of being constrained by the space and small cast, the opera comedy takes full advantage of the constraints to deliver an immersive, impactful experience.