Trouble in Tahiti

Bernstein was working on the opera during his honeymoon with Felicia Montealegre[3]. The story is based on the relationship of Bernstein's own parents, Sam and Jennie, but the wife's name was changed to the more singable Dinah, Bernstein's grandmother.[4] The work is dedicated to Marc Blitzstein; Blitzstein and Bernstein were good friends, both alumni of the Curtis Institute in Philadelphia. Bernstein had produced one production of Blitzstein's The Cradle Will Rock.[5]

The opera is frequently performed with minimal scenery (although Bernstein gave detailed instructions for drops and props) and very simple costumes. There are only two soloists, a married couple named Sam and Dinah. Their son, Junior, is often referred to but is never seen or heard. Other characters are addressed in certain scenes but also are never seen or heard: Sam's client Mr Partridge (on the telephone); his friend Bill (present and interacting with Sam but intended to be invisible); his secretary Miss Brown (present but intended to be invisible); Dinah's psychoanalyst ("invisible"); her milliner ("imaginary").

Trouble in Tahiti is the story of one day in the life of these desperately unhappy, though married people, lonely, longing for love, and unable to communicate. At the end of the opera, Sam and Dinah show a willingness to sacrifice for each other, out of commitment to the marriage, though there's not much pleasure to be had. A copyright is held for an alternate ending by Bernstein, which has not been released.[6]

The opera also uses a vocal trio, dance-band "ensemble" style (often referred to by others as a scat singing jazz trio), whose role is important. Bernstein refers to them in production notes published with the score as "A Greek chorus born of the radio commercial". The trio opens the work singing the glories of Su-bur-bi-a, using the same pattern – c, f, g, c' - as in the line "New York, New York" from the earlier On the Town. The sun wakens the couple, kindles their love, kisses the windows, kisses the walls, kisses the doorknob and the "pretty red roof", kisses the flagstones on the front lawn, the paper at the front door, the roses around the front door of "the little white house" in Scarsdale (New York), Wellesley Hills (Massachusetts), Ozone Park (New York), Highland Park (Illinois), Shaker Heights (Ohio), Michigan Park (a white enclave in black Washington, D.C.), and Beverly Hills (California) – all upper-middle-class, white suburbs where people lived who had "made it", who had gotten "out of the hubbub". "Have a good day in the city today. Joy to your labors, until you return." The viewer is about to witness a day in the life of an idyllic couple living there. "Skid a lit day: skid a lit day... Ratty boo." In the middle of the opening, one member of the trio sings a stanza of nonsense, then sings it again – the same nonsense – accompanied by a solo jazz clarinet.

The trio appears several times later. In an interlude, they speak well of how possessions contribute to the "wonderful life": up-to-date kitchen, washing machine, colorful bathrooms, Life magazine, Sheraton sofa, Chippendale chair, bone chinaware, real solid silver, two-door sedan and convertible coupe – "Who could ask heaven for anything more?" Their "sweet little son" seems another one of the possessions: "family picture, second to none".

Prelude – A smiling jazz trio sings of perfect life in an affluent, unnamed suburban town, with its little white houses and happy, loving families ("Mornin' Sun"). The town could be anywhere; many names are mentioned.

Scene I – Real life in suburbia contrasts greatly with what the Trio has painted. Sam and Dinah are having breakfast, alternating between habitual bickering and lyrical moments of longing for kindness. Dinah is angry with Sam. She accuses him of having an affair with his secretary, which he denies ("the subject is closed"). She also reminds Sam that their son Junior's play is that afternoon, but Sam insists that his handball tournament at the gym is more important, to which she retorts, "to hell with the gym". She needs more money to pay for her analyst, who Sam calls an "out-and-out fake". Dinah says Sam should go too, which suggestion Sam pays no attention to. They agree that this is not the way to live, and they will have a conversation about their relationship problems in the evening. They both ask each other for kindness, ask the other for help "to love you again" and pray that the wall built up between them can be broken down. They continue to argue until Sam leaves for the office, late for his train.

Scene II – Sam, at work, exuding confidence, is dealing with business on the telephone. He turns down the curiously-named Mr. Partridge, presumably for a loan. The chorus calls him a genius, "you marvelous man". "When it comes to the dollar, no one touches marvelous Sam."

But then comes a call from "Bill", who he is glad to lend money to: "you'll return it whenever you want to... Is it sufficient?" Coincidently, Bill is also participating in the handball tournament with Sam. The chorus observes that "when it comes to the giving, no one touches big-hearted Sam".

Scene III – In her analyst's office, Dinah recalls a dream ("I was standing in a garden").

I was standing in a garden, a garden gone to seed, choked with every kind of weed. There were twisted trees around me, all black against the sky, black, and bare, and dead, and dry. My father called, come out of this place, I wanted to go, but there was no way, no sign, no path to show me the way. Then another voice was calling, it barely could be heard. I remember every word: "There is a garden, come with me, come with me. A shining garden, come and see, come and see. There love will teach us harmony and grace, harmony and grace. Then love will lead us to a quiet place."

Meanwhile, at Sam's office, he asks his secretary if he ever made a pass at her. When reminded of an incident, he insists, in a menacing way, that it was an accident and that she should forget that it ever happened.

Scene IV – Sam and Dinah accidentally run into each other on the street. Rather than having lunch with each other, they both make up lies about imaginary commitments to lunch with others. They continue to sing on the stage (though not to each other), reflecting on the confusing and painful course their relationship has taken, and yearn for their lost happiness.

Interlude – Inside the house, the Trio sings of lovely life in Suburbia, detailing the possessions that contribute to the American dream.

Scene V – At the gym, Sam has just won the handball tournament. He sings triumphantly about the nature of men ("There's a law") — how some try with all their might to rise to the top, but will never win; while others, like him, are born winners and will always succeed. "Men are created unequal."

Scene VI – In a hat shop, Dinah tells an unidentified person about a South Sea romance movie called "Trouble in Tahiti", which she has just spent the afternoon watching. (Later, we learn that she has missed Junior's play.) At first she dismisses the movie as Technicolor drivel. But as she recounts the story (What a movie!") and its theme song "Island Magic", backed by the Trio, she gets caught up in the escapist fantasy of love. Suddenly self-conscious, she stops herself, as she has to prepare dinner for Sam.

Scene VII – About to enter his home, Sam sings of another law of men — that even the winner must pay "through the nose" for what he gets.

The Trio sings of imaginary evenings of domestic bliss in Suburbia: "bringing the loved ones together, safe by the warmth of the firelight". After dinner, Dinah is knitting and Sam is reading the paper. Sam decides the time has come for their talk, and Dinah, after asking what he wants to talk about, agrees: "anything you say". Yet Sam can't talk; he doesn't know where to begin. He blames Dinah for interruptions, but she has not said anything. "It's no use", he says. In the only spoken dialogue in the opera, Sam asks Dinah about Junior's play; she didn't go either. He suggests they go to the movies, to see a new film about Tahiti; Dinah consents. ("Sure, why not? Anything.") As they leave, they each long for quiet and communion, wondering if it's possible to rediscover their love for one another. For now, they opt for the "bought-and-paid-for magic" of the silver screen. The Trio makes its final ironic comment, reprising the movie's "Island Magic" theme song.

With the permission of the Leonard Bernstein Office Inc. (the musical estate of the composer), Paul Chihara adapted the operatic music into an orchestral suite. In March 2012, the Orpheus Chamber Orchestra performed the New York premier of the adaptation at Carnegie Hall.[4]

With the permission of the Leonard Bernstein Office Inc., The Chinese University of Hong Kong Chorus gave a semi-staged performance of the opera with a chamber choir substituting the Trio as scored. On 17 June 2018, the chorus performed the adaptation with Garth Edwin Sunderland's reduced orchestration in their Leonard Bernstein centennial celebration concert "Bernstein in the Theater" at Hong Kong City Hall Concert Hall.

Bernstein wrote a continuation, A Quiet Place (1983, libretto by Stephen Wadsworth), which was poorly received. It was rewritten incorporating Trouble in Tahiti in the form of an extended flashback.[8] The opera, set 30 years later, depicts the aftermath of Dinah's death in a car crash and Sam's struggle to reconcile with his adult children.

In 1970 the Australian Broadcasting Corporation produced a television version of the opera. It was first broadcast in Sydney on ABC-TV on 19 March 1972. It starred Raymond Duparc as Sam and Marie Tysoe as Dinah.[9]

A version with live singers performing on animated sets was broadcast on PBS in the United States in 1973, later available on VHS and DVD. Nancy Williams and Julian Patrick played the couple, with Antonia Butler, Michael Clarke and Mark Brown as the trio. Leonard Bernstein conducted.

In 2001, the BBC released a film version directed by Tom Cairns with Stephanie Novacek as Dinah and Karl Daymond as Sam.

In 2018, Opera North created a film version, based on the company's stage production, produced by The Space and directed by Matthew Eberhardt, starring Wallis Giunta and Quirijn de Lang. The film was broadcast on Sky Arts in October 2018.[10]

Sources

• Smith, Helen (2011). There's a Place for Us: The Musical Theatre Works of Leonard Bernstein. Ashgate. ISBN 9781409411697.CS1 maint: ref=harv (link)

• Trouble in Tahiti, work details, leonardbernstein.com
• Anthony Tommasini, "A Short Bernstein Opera on a Troubled Marriage", The New York Times, October 10, 2005