“Amor & Pysche” a new opera by the Vertical Player Repertory and Opera Feroce opened Thursday night at the Christ Church in Cobble hill. As mentioned in an earlier post, it might be impossible to find a more humbling venue. The church – a breathtaking space of yawning gothic arches and sparkling Tiffany stained glass which is over 160 years old – is a truly inspiring if unusual backdrop for performance.

The story, which is drawn from the myth of Cupid and Psyche, is one to match the environs of its performance. A torrid tale of solitude, lust, and sneaky gods, the opera itself evolved organically as the love child of its three performers, writers, and organizers, Beth Anne Hatton, Hayden DeWitt and Alan Dornak. The score was scavenged “from the dark corners of online music libraries or from nearly illegible manuscripts in alto clef, photocopied, one day, just in case.” The score includes obscure numbers from a variety of Baroque composers, which have been masterfully hodge-podged together into a truly eclectic, trilingual masterpiece.

Though the setting, music, and story were hard to complain about, what truly set this piece apart was the character interaction; the chemistry seemed at times more vaudeville than opera. Alan Dornak was a truly delightful presence, gender bending as he seamlessly slipped between a hilarious cast of characters including Venus, an irresistibly likable demi-god Pan, and Jove ruler of the gods.

For me, opera is to be felt and experienced emotionally. Unfortunately, this does not occur often. Though I jump at any opportunity to go to the Met or the New York Opera, I often find myself distracted, buried in the supertext. Perhaps it is the stratified environment itself that serves as a barrier. Miles away from this uptown glitz, it wasn’t until halfway through the show that I realized I was too busy laughing to look at the program. Sitting in the front row of an un-air-conditioned church opera had finally come alive.

(Photos: HW)