Blue is a Heartbreaking Triumph at the Lyric Opera

The Lyric Opera of Chicago’s staging of Blue by Jeanine Tesori and Tazewell Thompson is a masterful exploration of family, identity, and societal turmoil. From its opening notes, this production envelopes the audience in an emotionally charged atmosphere, propelled by Tesori’s evocative score and Thompson’s searing libretto. Directed with sensitivity and precision by Thompson himself, the opera becomes not just a narrative but an immersive experience, engaging the heart and mind alike. Blue is a groundbreaking work that blends classical and contemporary operatic traditions while addressing important social issues.  While it still suffers the lack of arias and accessible music that most modern opera does, this one has enough touchstones and repeated musical motifs that you will find it easier to listen to than many modern operas. The ensemble singing is tremendously powerful.

Blue centers around a nuclear family of Father, a police officer; Mother a restauranteur; and son, an artist; whose lives are shattered by an act of police violence. The production underscores the complexities of systemic racism, familial love, and resilience​. Though they could not have known the outcome of the recent election when the Lyric Opera selected this work for this season, it could not be more timely as we are now reentering an era where black people, and young black men in particular, will be under constant threat.  This could be every and any family you know and it WILL be some families across America again, soon. This is a hard-hitting gut-punch of an opera, and in the current circumstances hits harder than ever.

Kenneth Kellogg’s portrayal of the Father anchors the production with both gravitas and vulnerability. His deep, resonant bass captures the character’s internal struggle between his own identity as a giver of law and order, pride in his son’s potential, and fear for his survival in a world fraught with racial injustice. Opposite him, Zoie Reams delivers a tour-de-force as the Mother, her mezzo-soprano voice radiating hope, warmth, and sorrow by turns. Together, their performances paint a vivid portrait of love tested by unimaginable pain.

Travon D. Walker as the Son is both bratty and idealistic by turns.  You get this kid.  He’s talented, bright and deeply aware of injustice and wants to fight it in his own way.  He deeply loves his family, but he can’t understand his father for clinging to a system that looks down on him and uses him to enforce white supremacy.  His powerful vocals provide the other part of the moral compass of this show.

Ariana Wehr, Adia Evans and Krysty Swann as the Mother’s three girlfriends have some of the most lovely musical moments in this opera and they get to be both funny and poignant as well.  Every time they are on stage something interesting is going on and what they have to say is profound. The scene of the Father and his work buddies, played by Terrence Chin-Loy, Jonathan Pierce-Rhodes, and Christopher Humbert Jr. is also a well-sung good time.

Norman Garrett, as the Reverend, provides a commanding presence, offering spiritual guidance laced with frustration and empathy. Garrett’s baritone voice balances authority and compassion, particularly in moments where the community gathers to mourn and reflect. His scenes with the parents are some of the opera’s most touching, grounding the narrative in a shared sense of grief and hope.

The staging, designed by Donald Eastman, is minimalist yet profoundly effective. The set transitions seamlessly from intimate domestic spaces to stark public scenes, reflecting the dualities of personal and communal experience of shared hopes, fears and grief. Eastman’s designs, combined with Robert Wierzel’s evocative lighting, underscore the emotional highs and lows, with warm hues highlighting family unity and colder tones marking moments of tragedy and disconnection​.

Costume designer Jessica Jahn uses attire to subtly underscore character dynamics. The Father’s police uniform becomes a symbol of complex allegiance, while the Mother’s wardrobe reflects her journey from serene domesticity to public mourning. The simplicity of these designs allows the emotional weight of the story to take center stage without unnecessary distractions​.

The musical score by Jeanine Tesori is a triumph of emotional storytelling, blending classical structures with jazz and gospel influences that are readily accessible to the audience. The orchestra, under Young’s deft baton, captures every nuance, from tender family moments to the explosive aftermath of the son’s death. Tesori’s use of leitmotifs ties the narrative together, with recurring musical themes providing continuity and depth​

In sum, the Lyric Opera of Chicago’s production of Blue is a monumental achievement that exemplifies the transformative power of opera. By marrying exceptional performances with innovative staging and timely themes, it transcends the boundaries of the art form to become a vital cultural event. This is not merely a performance to witness—it is one to feel deeply and remember for years to come. You will be very sorry if you miss it. Tickets available at the Lyric Opera website.

All photos by Kyle Flubacker.