San Francisco Opera’s production of The Handmaid’s Tale brings to life a deeply unsettling vision of a dystopian society where fertile women are enslaved and stripped of their rights. This adaptation of Margaret Atwood’s 1985 novel, with music by composer Poul Ruders and a libretto by Paul Bentley, is an opera of almost unbearable intensity, vividly capturing the brutality of Gilead—a world ruled by misogyny and religious extremism.
Originally commissioned by the Royal Danish Theatre and first performed in 2000, the opera closely follows Atwood’s novel, chronicling the life of Handmaid Offred as she navigates both the totalitarian world of Gilead and the time before its rise. San Francisco Opera’s production was initially delayed by the pandemic, but the long-awaited performance at the War Memorial Opera House proves to be a gripping experience that resonates deeply in today’s world.
A Tale of Two Offreds
In an inventive approach, the libretto divides Offred into two characters—one in the present, enslaved in Gilead, and another in flashbacks to the time before, interacting with her family. American mezzo-soprano Irene Roberts stars as the older Offred, delivering a breathtaking performance filled with courage and vulnerability. Mezzo-soprano Simone McIntosh portrays the younger Offred, her free movements a reflection of the liberties lost. The two singers join in a haunting duet during the second act, blending guilt, anger, and yearning as they reflect on the fate of Offred’s daughter.
Powerful Performances and Disturbing Depictions
The supporting cast excels in both Gilead and the Time Before. Tenor Christopher Oglesby brings charm and warmth to Offred’s husband, Luke, while mezzo-soprano Gabrielle Beteag shines as Offred’s radical feminist mother. Soprano Caroline Corrales portrays Moira, Offred’s fiercely independent friend, who escapes the life of a Handmaid.
In Gilead, Offred’s Commander, portrayed by bass John Relyea, and his Wife, Serena Joy, sung by mezzo-soprano Lindsay Ammann, dominate the stage with icy authority and dark, lush vocals. Soprano Sarah Cambidge stands out as the terrifying Aunt Lydia, delivering punishingly high music with forceful precision. The controlled chants of the Handmaids and the chilling violence depicted—including ritualized rape and executions—make for an emotionally intense viewing experience.
A Dissonant, Potent Score
Ruders’s score is a striking combination of dissonant harmonies and relentless percussion that creates an atmosphere of constant dread. The music shifts with the setting, offering moments of lyricism during Offred’s arias and tenderness in her scenes with chauffeur Nick, played by tenor Brenton Ryan. The brothel scene introduces jazzy undertones, and a nursery melody accompanies scenes with children. Perhaps most powerful is the subtle weaving of the hymn Amazing Grace throughout, a reminder of its author’s role in the slave trade and subsequent transformation.
A Striking Visual and Thematic Impact
The opera’s minimalist set, designed by Chloe Lamford, perfectly complements the themes of oppression and surveillance in Gilead. Director John Fulljames uses the sparse stage to great effect, enhancing the sense of claustrophobia with moving partitions and well-choreographed transitions. The large cast is handled with care, and conductor Karen Kamensek masterfully guides the orchestra through the dense, complex score.
A Timely Reflection on Power and Resistance
Atwood has pointed out that every event in The Handmaid’s Tale has happened somewhere in the world, and this opera serves as a reminder of the fragility of human rights. The dystopian themes resonate with contemporary events, from the suppression of women’s rights in Afghanistan to the revocation of abortion rights in the U.S.
In the opera’s final scene, the cast and chorus come forward, some holding signs that spell out “IN HOPE.” This powerful image reminds us of the importance of resistance in the face of oppression, leaving the audience with a sense of both unease and resolve.
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