Opera Parallèle’s “Harvey Milk Reimagined,” now onstage at Yerba Buena Center for the Arts in San Francisco, is a trimmed, tightened and electrified version of “Harvey Milk,” the 1995 Houston Grand Opera premiere presented by San Francisco Opera in 1996.
This reimagined version, also by composer Stewart Wallace and librettist Michael Korie, describes Milk’s time and life in all phases: his growing up in New York, his years as a young, gay, 1970s Wall Street Republican discovering love, and finally as a seasoned liberal politico warring against social injustice. The iconic gay activist died at the hands of Dan White, a fellow San Francisco supervisor, who also killed San Francisco Mayor George Moscone on Nov. 27, 1978.
The work is a co-commission of Opera Parallèle (the San Francisco troupe staging innovative opera since 2007), which delayed its production due to the pandemic, and Opera Theatre of St. Louis, which presented in 2022.
In program notes, Wallace officially dedicates this version to impresario David Gockley, former director of Houston Grand Opera and San Francisco Opera well known for commissioning and championing new work.
“Harvey Milk Reimagined” is packed with references to Milk’s Jewish faith; the Holocaust; Milk’s love of opera (including a riff from “Tosca”), his relationship with his partner; and extremes of passion in public life. It’s a lot of ground to cover in two hours; the original was three-plus hours.
Still, some scenes could benefit from further trimming. “Thank you San Francisco,” for example, loses its steam well before winding down, but it’s a small quibble; the signal quality of the work is its consistently high level of energy.
With Nicole Paiement’s vibrant, detailed conducting of the orchestra and chorus, Mextley Couzin’s vibrant lighting and Brian Staufenbiel’s staging, the brief, powerful scenes roll out cleanly.
David Murakami’s brilliant video projections of Milk in action add the power of history to the narrative and contribute to the quick tempo of the piece. Jacquelyn Scott’s simple set design offers revolving staircases that minimize stage clutter amid a large cast and numerous hanging doors that suggest closeted sexual encounters.
An especially telling clip of an argument between Milk and White exposes a considerable amount of steel in Milk’s makeup; there is palpable enmity between the two.
Michael Kelly is commanding in the title role, singing with a bronzed well-focused baritone, and tenor Henry Benson as his partner Scott Smith is his vocal and dramatic match, with a good measure of humor in his portrayal.
Tenor Christopher Oglesby sings the role of supervisor White, clearly showing him as a disturbed person pushed over the edge by jealousy and rage, while Curtis Resnick makes a powerful impression as the young Harvey.
The rest of the cast, including a robust chorus, is first-rate.
Opera Parallèle’s “Harvey Milk Reimagined” continues at 7:30 p.m. May 6 and 5 p.m. May 7 at Blue Shield of California Theater, Yerba Buena Center for the Arts, 700 Howard St., San Francisco. Tickets are $35 to $188 at operaparallele.org.
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