It's Hard Out There For a Sheep

If you've seen City Opera's poster art for Candide, you may have noticed the inclusion of a sheep wearing a tiara in the left-hand corner of the image.  While at first glance this may seem a bit odd, the sheep of El Dorado are part of Candide's journey -- and what could possibly be better than a pair of sheep who also sing? 

 

Sopranos Jennifer Piacenti and Sarah Moulton, both making their City Opera debuts this season as pink sheep, maintain that they are proud to be a part of this production of Candide -- arguably, "The best of all possible productions."

 

"From the very beginning," says Piacenti, "Deborah [Lew, returning pink sheep] told me that this show was nothing but fun, and she was right.  I mean, how serious can you be when you're wearing a costume fashioned from pink bath mats?  'Enjoy, enjoy, enjoy,' is basically what she said -- 'Oh, and whenever you don't have to be on all fours, go ahead and walk!'"

 

The question, of course, is this: where does inspiration come from when you're playing a sheep?  "In truth," says Moulton, whose past credits include Carnegie Hall and The Amherst Early Music Festival's Dido and Aeneas, "My inspiration for the role came from a direction in the script.  It says that the Pink Sheep 'throw themselves on Candide like pet dogs.'"  Piacenti, who also owns a dog herself, and whose past credits include City Center's Mikado and performances with The Houston Grand Opera, adds, "I try to put myself in the 'paws' of my little beagle, Sadie.  All the sheep really want is to make Candide happy."

 

Throughout the second act, Candide and his hapless, homeless sheep never fail to draw laughter and applause from the audience.  "Anytime we 'baaa' on stage, it's funny," says Moulton.  "I could never have imagined that my New York City Opera debut would be as a farm animal."  Adds Piacenti, "When the beautiful melody line of a duet suddenly culminates in a random, solo BLEAT-- now THAT'S comedy; operatic sheep."

 

Aside from providing some well-timed comic relief, the sheep -- as Candide's faithful companions -- carry the gold that helps rescue Candide's one true love, Cunegonde, from ravishment.  

 

Their big second act scene, "El Dorado," is also a pivotal turning point for both Candide and his traveling companion, Paquette.  Says Piacenti of this scene: "El Dorado is where everything is perfect. The sheep, Candide and Paquette are removed from an idyllic paradise and are forced to meet with the'evil' of the world.  Ultimately, the idea is that in order to really live life, the bad is going to come with the good."

 

In addition to playing El Dorado's singing sheep, both Moulton and Piacenti appear elsewhere throughout the production.  This requires them to wear a number of various hats -- sometimes, quite literally.  Says Piacenti, "I'm a cart-jumper, fruit-thrower, seat-saver, groan-lover, pineapple hat dancer, handkerchief-waver, wig-carrier, house-mover, carnage-lover, seat-warmer, and lady who lunches.  It's a very important job."  Adds Moulton, "We're in the Auto-da-Fe scene and also as dancers in Cartagena.  In Cartagena, I have the privilege of wearing a giant watermelon on my head -- not something to miss!"

 

In the end, while it's hard out there for a sheep -- especially when that sheep belongs to Candide -- both Moulton and Piacenti have high hopes for the fate of their characters.  "In the final tableau, the sheep are placed next to the Old Lady," says Moulton.  "She may not get a man, but at least she gets some pets!"  Concludes Piacenti: "My sheep retires to the farm where she can eat, sleep, and please her master.  If she's anything like my Sadie, that will make her very happy."