Opera News Review
4/18/23, 7:38 AM Tacoma Method | Opera News
https://operanews.com/in-review/2023-04-tacoma-method-presented-by-tacoma-opera/ 1/4
North America, Online Exclusive
Tacoma Method
Tacoma Opera
TACOMA
A SHAMEFUL CHAPTER of Tacoma and American history—the expulsion of Chinese immigrants from the city— furnished the subject matter of Tacoma Method, a new opera by two Tacomans, composer Gregory Youtz and Beijing-born poet Zhang Er, that was presented by Tacoma Opera (seen April 2).
After mostly Chinese workers had built the railroads of the American West in the 1870s, the Chinese Exclusion Act of 1882 prohibited their immigration and fueled anti-Chinese sentiment. Using and quoting historical characters and documents, the opera dramatizes events of 1885, four years before Washington became a state. After meetings and debate, Tacoma’s seven hundred Chinese people were ordered to leave town by November 1, and most did, but on November 3, an armed mob of white men marched the two hundred who remained out of “Little Canton” on the waterfront and onto a train bound south to Portland. In the next few days, their shops and homes were looted and burned. Outrage brought the prosecution but not the conviction of twenty-seven ringleaders. The use of propaganda, intimidation and force to drive out Chinese without bloodshed in a decade that saw massacres elsewhere set an example touted as “The Tacoma Method.”
Youtz, who has long taught Chinese culture and composed on its themes, mixed European, U.S. and Chinese influences economically in a twenty-musician orchestra that included four percussionists, tenor saxophone, euphonium, banjo, guitar and synthesizer; the last three were able to suggest, respectively, the Chinese sanxian, pipa and sheng. Bits of Stephen Foster and other Americana added swing. Conductor James Brown and the band were placed at one side of the 742-seat Rialto Theater. Brass and prominent percussion provided plenty of force in the two acts’ dramatic last scenes, but the two-hours-plus Tacoma Method
lies midway between grand and chamber opera.
An orchestral prelude accompanied projected images of Mt. Rainier, Commencement Bay and railroad construction. Intimate scenes of preparation for February’s Chinese New Year introduced two families. Lum May, a prosperous general store owner, warmly sung by baritone Suchan Kim, and Mrs. May, who would eventually emerge as the central figure, played by mezzo-soprano Soon Cho, had two daughters, a nanny, and were settled and confident. Their younger friends Sing Lee and Mrs. Lee, sung by clarion high tenor Allan Palacios Chan and sparkling high soprano Ivy Zhou, were less sanguine, more troubled by job shortages and labor unrest.
To open a New Year’s party in the Mays’ home, stage director Barry Johnson sent a Chinese dragon down and up the aisles, and grumbling white characters entered from the audience, suggesting unrest arising from the masses. The chief antagonists were jingoistic Mayor Jacob Weisbach, powerfully sung by tenor Robert McPherson; the labor organizer Kevin (tenor Andrew Etherington), and Judge Wickersham (bass Joshua Johnson). Pro-Chinese support came from the priest Father Hylebos, elegantly sung by countertenor Kyle Tingzon; businessman Ezra Meeker, sumptuously sung by baritone Zachary Lenox, and Mrs. Meeker (soprano Stacey Mastrian). The libretto excelled in giving each of the six individual, nuanced arguments. Supper time revealed an amusing range of dexterity with chopsticks. A surface resemblance to
Nixon in China ’s banquet was undercut by insistent percussion, rhythmic leg jerks, and the sense of an out-of-control machine, like a Rossini act finale, but a dark, discordant one that ended in musical dissonance.
Act II brought meetings and heightened anxiety. Mrs. Meeker with a pitchfork: “MyChinese workers will stay!” Mrs. Lee with her baby: “Help! Who will be on our side now?” But Mrs. May voiced an assimilation metaphor and naivete that wouldn’t last long: “Among Douglas firs golden bamboo rustle at the ocean’s brim. … The government will come to protect us. … The Constitution will protect our street.”
The nastiest sentiments came from a twelve-member chorus, representing the people ofTacoma. Responding to their accusation before boarding the train with her family in the final scene, Mrs. May sang “Mad! Am I mad? The world is mad. This moment is mad.” Hers was not a mad scene’s insanity but righteous anger. Singing high and quite low, Soon Cho was intense and incisive as Mrs. May bade her daughters “shun this place” where her American dream died, and cursed Tacoma. “This phoenix will not rise again …until my story is told.” This telling ended with an orchestral outburst, train whistles, thunder, and the patter of a Pacific Northwest November downpour. —
Mark Mandel
Opera Guild
(https://www.metguild.org/index.aspx)
Copyright © OPERA NEWS 2023
(https://operanews.com)
Comments by Audience Members
Congratulations to all the performers and team behind the scenes of the new opera The Tacoma Method presented by Tacoma Opera!
Last night was a historic moment as they presented the world premiere of Tacoma Method, a work that explores the painful legacy of the Chinese Exclusion Act and its impact on the local community of Tacoma. This groundbreaking production is not only a significant milestone for the Tacoma Opera but also for the entire community of Tacoma and beyond. My colleagues in the audience said they cannot wait for the Met Opera to do this!
Written by our famed local composer Dr Gregory Youtz and the renowned Chinese librettist Zhang Er, this opera is a powerful tribute to the resilience of the Chinese community in Tacoma and their struggle against discrimination and injustice. The opera weaves together traditional Chinese music with Western classical music, creating a unique and moving sound that captures the spirit of the community and its history.
The entire cast was superb, music captivating, the drama intense and enabled the audience to really get inside the heart of this case of discrimination. Special kudos to outstanding performance by Soon Cho, Kyle Tingzon, Rob McPherson and the two children who must be watched as their shining voices will be stars of the future: April Zhong and Qi Jinjing!
In case you missed the premiere last night – the opera will be performed again tonight and tomorrow at the beautiful Rialto Theatre in downtown Tacoma.
Sarah Ioannides, Conductor, Symphony Tacoma
I did get to see the opera on Saturday. Now that it’s all over, I can confess that because contemporary operas in English are not usually my favorites, I was a little surprised that I enjoyed every minute of it! Greg’s music is very approachable – it was so much fun to pick out familiar folk melodies, and even with my limited exposure to Chinese music (mostly, I’m a bit embarrassed to admit, through historical dramas) I was able to relate to it. He does not trade beauty or emotional resonance for high concepts.
After our interview I was sure I knew exactly what to expect from the story. With such a spare libretto leaving space for the music to breathe, you managed to fit in so much historical detail without the dreaded “info-dump”. I knew that you worked to humanize your characters, but even forewarned, I was surprised at how much humanity and interiority you managed to give even the antagonists and smaller roles. As a writer, I focus on the technical feat of fitting fact, character development and story into poetry. But of course what is most important is the emotional impression left upon the viewer, and I can honestly say that Tacoma Method was the most moving opera I have seen in years. I have spent a lot of time over the last week wondering about what happened to all of those people after they left Tacoma. I want to hear the rest of their stories! And I want to hear yours, too – I look forward to seeing more opera from you in the future.
Thank you so much for sharing this project and your process with me. It has been a privilege and a pleasure, and I only hope that my article was able to send a few more people down to Tacoma to see such a wonderful performance.
Gemma Alexander, Seattle Times (to Zhang Er)
Congratulations and heartfelt thanks to PLU composition department director Greg Youtz for creating this stunning and historically important opera, set to Zhang Er’s libretto about the expulsion of the Chinese from Tacoma in the 1880’s and performed so powerfully by Soon Cho. Greg’s musical imagination, his deep understanding and knowledge of Chinese music, his fine sense of dramatic timing, his colorful, creative orchestration and beautiful vocal writing brought to life Zhang Er’s insightful, penetratingly powerful libretto. The orchestra was fabulous. The stage direction brought it all together. The cast was wonderful; all of the singers were fantastic vocally and in their roles. I was moved to tears. This opera needs to be staged seen around the country. It is a superb work.
Dawn Sonntag, Composer
I am still processing this weekend of 3 back-to-back performances of Tacoma Method at Tacoma Opera. It was dramatically and vocally demanding; but I felt empowered because I played a mom, a wife, a believer of the American dream AND a person of asian heritage. Never have I ever felt so liberated and authentic on an operatic stage—I got to play myself and share some of my lived experiences to a certain extent. What a ride.
Grateful for Zhang Er and Greg Youtz for writing such strong characters; Lim Forgey and Tacoma Opera for producing; Barry Johnson, James Brown and Shelby Rhoades for making the magic happen; my amazing cast, crew and orchestra—we did it y’all!
Soon Cho, Cast Member
Just a couple months ago I stood in our nation’s Capitol and sang the Star Spangled Banner to help ring in the largest group of Asian-American congressmen/women to date. Knowing enough of our history, I understood how big of a moment that was, holding back tears as I saw our flag processed down the aisle. This month, I have the privilege of fleshing out some of this history in a new opera, ‘Tacoma Method’ (music by Gregory Youtz, and libretto by Zhang Er) in the role of Mr. Sing Lee.
It is based on the true story in 1885, when the Chinese were violently expelled from the city, uprooted and forced to leave their businesses and homes. It’s the reason why Tacoma is the only major west coast city with no Chinatown…
Learning this role has brought back a lot of difficult feelings and memories that I don’t often talk about…memories of growing up in the good state of Virginia where I’ve experienced my fair share of discrimination from wary white neighbors…and as a child, no less. But the truth is, it was a minority of folks that had issues with us; the vast majority of our neighbors were our friends, and still are. Things have changed.
But progress is delicate. With the rise of anti-Asian hate crimes in recent years, we are forced to look at ourselves and ask these difficult questions. I’m so grateful to Tacoma Opera for giving me and this amazing cast the opportunity to be a voice for these once forgotten people.
During the undergraduate days, I took a course on Asian-American literature which ended up being one of the most important courses I’ve ever taken because it taught me a lot about myself. Probably the most interesting thing I learned is that this stereotype of the quiet Asian kid is actually not an “Asian” trait at all…it’s an attempt to be more “American.” The opera premieres in the heart of Tacoma, Washington (at the Rialto Theater), where it all started. And we will not be quiet…we will f*cken roar.
Tomorrow is opening night for the world premiere opera ‘Tacoma Method at Tacoma Opera’ where I play the role of Sing Lee. I’m so honored to—along with an incredibly talented cast of colleagues—be able to give a voice to the Chinese community of Tacoma who were kicked out in 1885. I’ve always been taught to love my mixed heritage, and this weekend I feel so honored to be able to represent this side of my familia. Thank you Tacoma Opera for this unique opportunity.
Allan Palacios Chan, cast member
One week #latergram about Tacoma Method, whose world premiere was a roaring success last weekend! It’s always a special experience to share the stage with fellow Asian artists. It was also incredibly empowering to see how much our audiences connected to a Chinese-American story, a story about complex workers’ politics, xenophobia, and family survival. I hope the opera world is paying attention. People want to hear these stories, and we want to tell them. More, please! Gan bei!
-Ivy Zhou, Cast Member
The opera left me speechless and stunned, engulfed in near grief, as it ended. You and Greg have created a powerful piece of art, an emotional and musical feast, a true blend/tension between East and West, and a heartrending yet critical examination of history.
It is a catharsis we all need. I hope you and Greg will bring the opera to more venues and audiences.
What an achievement! Congratulations!
Rose Jang, Professor of Theatric Art
I am writing regarding the wonderful opera I attended yesterday with one of my board members. I am, of course, speaking about The Tacoma Method. My board member was moved to tears at the end, and I was completely enthralled by the music and script until the very last word. Literally.
I should probably introduce myself. I am the President of the Puyallup Historical Society at Meeker Mansion. Three of the cast members, Kyle Sanchez Tingzon, Zachary Lenox and Stacey Mastrian, visited Meeker Mansion recently and advised that they were in the opera, though we already had heard about it from articles in the Tacoma News Tribune and the Seattle Time which we collect for our archives. After answering the cast’s questions about the Meekers, two of us decided to attend the show for various reasons. We were very curious about what would be included in the opera about Ezra and Eliza Jane during this tumultuous time in our local history. And, I must admit, we all got a kick out of thinking about “Ezra” singing opera.
I am not sure if either of you have ever visited our website for Meeker Mansion, but if you do (meekermansion.org) you will see on the home page that we have just started work on a new Cultural Heritage Center at Meeker Mansion which is slated to open in the fall of 2026. Watching the show yesterday gave me goosebumps from the moment the curtain rose, and the stunning photographs started appearing with the sounds of water washing up on the shores of the Puget Sound until the orchestra began to play and cast members took the stage. The opera made me think about all the different ways a cultural heritage center could welcome community and share history. This was such a profound production, both for our region and for society in general, that it is our sincere hope it can be performed beyond this past weekend’s performance schedule, and beyond the Puget Sound region. I simply cannot find the appropriate words to illustrate how much we enjoyed and appreciated your work.
-Shelly Schlumpf, President, Cultural Heritage Center at Meeker Mansion
I was unable to personally see you and tell you what a fabulous performance it was yesterday! You have so much to be proud of!! Congratulations. The staging and the music was breathtaking. As I was about half way through the second act, I was thinking that this work should really go national…so many themes resonate today.
The way you, Greg, combined western, eastern, and folk music elements into the score was incredible. There were parts of the production that I just wished I could be reading and following along the score itself. Oh and the countertenor! Wowzza! Where did you find him?
Barry I admired in particular the hand gestures of the singers throughout. The nods to eastern traditional dance were such a rich addition and the contemporary “marching” of the crowd…reminded me a bit of Les Mis but it was so appropriate as it really added a rhythmic element to Greg’s score.
I wish it had a longer run as I would return to see it again – know there were elements I missed.
I really, really do hope that somehow the Opera America piece spurs on the NYTimes or WA Post to do an article. This is a production that deserves a much, much bigger audience than Tacoma and the production outmatched any of the contemporary pieces I have seen at Seatt Opera.
Bravo! So well done!!! It was an honor to be in the audience.
–Josie Emmons Turner, poet and educator
What I’m telling anyone who will listen to me (mostly that means friends and family):
the composition is extraordinary! Even without being a professional musician, I can hear the complexity and nuance and reference to musical traditions.
- the story is a marvelous balancing of the broad strokes and the very specific details that motivated the historical actors and that motivate the stage actors! I haven’t yet encountered a historical text that goes this deep into labor politics and the specific class/race/gender/citizenship constellations of power beneath this particular manifestation of anti-Chinese violence.
- How did you find this talent on such a short turnaround? The voices are incredible!
I generally know how any given opera is going to end, and this is no exception, except that this particular ending hits very close to home, geographically; as I sat in the audience I struggled with that knowledge and wondered how the narrative could possibly do justice to this particular injustice.
What I’ve been pondering since the weekend is the felt experience of tragedy when it is so close to home, vs. tragedy distanced by art in time and place.
I’m very curious, one day when you have time, to learn about your writing process with this work.
Thank you for bringing it into the world!
Greg Mullins, Dean, Evergreen State College Dean of the Library
For those who like to learn what it was like being Chinese in 1880s Tacoma, please consider seeing the “Tacoma Method” this weekend @ the Tacoma’s Rialto Theater! My family and I attended Friday night and the scenes and sounds are still lingering for me. Thanks to the incredible creation by professors Greg Youtz and Zhang Er, the opera was performed by a spectacular cast and orchestra. Thank you to all who are part of this production!
–Lin Crowley, Professor of Chinese Studies
Congratulations to Composer Greg Youtz, Librettist Zhang Er and all the incredible performers for the historic world premier last night of the opera, Tacoma Method!
What an important work that not only confronts an inhumane part of our city’s past, but also asks us to consider what might be true now and how we create a different present and future where all are welcomed and our community is whole.
Reconciliation and healing come in many forms. Last night, another important step was taken. Perhaps Tacoma can become known for a new kind of method, one based in love and peace.
-Renee Smith, Organizational Consultant
I really loved Greg’s opera and it has stayed with me since the night of the performance. I am amazed at Greg’s ability to conceptualize something of this magnitude. The opera singers were astounding, and the lead female vocalist was so emotionally moving in her role as the matriarch. I hope that this production will inspire and ignite discussions about this darker period for Tacoma and help to build connections through remembering. I also hope Tacoma Method gains the accolades it deserves while securing a place in the history of your community.
–Kathy Gore-Fuss, artist
let me introduce you to dr. mingxia li, a revered colleague of mine at Evergreen. she was the source and the librettist for the opera, the tacoma method. i just returned from the matinee and was duly impressed. it was wonderfully staged and performed. normally, i start to fidget at the handful of operas that i have attended, but not this one.
it is historically accurate and in this time of anti-asian hatred, totally relevant.
it was somehow ironic that its debut was in tacoma – the city that expelled the Chinese in the 1880s and still lacks good chinese ‘cue. (it’s one of the reasons i travel up to seattle – to see my sis and to hang out on king street and eat ‘cue with old pals at Kau Kau’s.) “the city of destiny” does not have a very significant asian american community. i am thinking that it needs to be seen and heard and enjoyed in a more fitting venue, such as Seattle (or portland, or SF, or oakland, or LA).
Peter Bacho, fiction writer, Professor of Asian American Literature (to one of his prominent Chinese friends in Seattle)
Dr Mimms and I went to eat after and gave you so much praise. Pam Bridges whose daughter is an opera singer (J’Nai Bridges) said “this opera needs to travel the world.” Pam was interviewed after the opera and said just that to the interviewer. She is committed to spreading the word!
Dr Mimms LOVED it! She felt so good to be there and learn and love you even more! I felt so much emotion during many of the scenes. I saw connections through history. “No room” rings in my soul
The final scene was the tip of the iceberg for me when your main character dressed in red came out and sang that aria I wept. “Mad ha ha ha” grabbing that weapon and feeling the pain of the world ohhhh Mingxia!!! Throughout the opera the music the words the voices were so moving. The contradictions within so many sectors of life: workers, religion, judiciary, the government officials, towns people driven to fear leading to crimes of hate. The conversations around me were revealing of what people think and refuse to think. To me the fumes of Tacoma Method is found in gentrification as well as the continued treatment of immigrants. The aria “oh Tacoma” lingers with me almost like a haunting blues song.
You are a brilliant artist moving storyteller and a wonderful sis to me. I love you
Gilda Sheppard, Film Maker, Professor of Sociology at Evergreen State College (to Zhang Er)
Congratulations on a wonderful world premiere. The deeply researched, deeply humane libretto was beautiful. I was — and I know that many of our Evergreen colleagues were — honored to be there. Thanks for everything you do for our students and our community. Thank you.
John Carmichael, President of The Evergreen State College
Tacoma Method: a new full-length opera 