by Stephanie Manning
The contemporary relevance of doomed love, betrayal, and political maneuvering continues to endear Henry Purcell’s Dido and Aeneas to modern audiences. But the recent staging of the 17th-century opera by Baldwin Wallace Opera Theater made a more direct connection to today’s political climate.
Set “within the dystopian framework of A Handmaid’s Tale,” the all-new production, directed by Scott Skiba, drew parallels between Purcell’s tale and the setting of Margaret Atwood’s 1985 book. It’s an ambitious premise, and one that ultimately wobbled rather than sticking its landing. Regardless, the one-hour work featured lovely performances across the board from the student cast.
The Helen Theatre at Playhouse Square provided an intimate, black box venue, giving the small audience up-close sightlines to the action. The cast of the 3:00 pm show on October 11 set a high bar for singing and acting quality, anchored by Christol Stewart as Dido, who absolutely shone with her dignified voice and bearing. Conductor Jason Aquila led a string quartet from the harpsichord.
The emotional resonance of Dido’s story — the widowed Queen of Carthage who commits suicide after being abandoned by her lover Aeneas — is key to a cohesive production. But the Handmaid’s Tale framework complicates things by making her a woman “of significant standing within the Gilead regime” — implying that she wields some power and could be complicit in abuses perpetuated by the draconian system.
The quartet of Handmaids who surround Dido are her confidants and supporters, another confusing contrast to the tense relationship between Handmaids and Wives in Atwood’s universe. At the head of them is Belinda (the poised and graceful Leah Kania) who urges Dido to follow her heart and find happiness with Aeneas (the grounded Charles Shaun Bohrer).
Wedding plans are interrupted by the scheming Sorceress (the charming countertenor Samuel Aldarondo), who in this version seeks to disrupt not only the marriage, but the corrupt Gilead regime at large. Which raises the question of whether we as the audience are now supposed to be rooting for the Sorceress’s plot.
The lack of supertitles made some of Nahum Tate’s libretto hard to understand, which also prevented a closer investigation of the text within the new framework. However, the intimate space made almost any line a potential solo part, shining an extra spotlight on the energetic pair of Abigail Spiker and Madison Barsham as the Sorceress’ assistant witches.
Special mention should also be paid to the lighting design by Steve Shack, who made beautiful use of both shadow and light within the small theatre. Golden hues announced an incoming storm during the slow-mo dinner scene, while curved projections onto the floor added an ominous quality to the Sorceress’ machinations.
After Aeneas leaves Dido, Christol Stewart delivered a dignified, yet devastating rendition of her character’s famous closing lament, “When I am Laid in Earth.” It was easy to feel for Dido’s plight, despite the complications posed by the Handmaid’s Tale elements. “Remember me,” Stewart beseeched the audience, who sat close enough to see every emotion cross her face.
As the opera reached its somber conclusion, the four Handmaids gently stretched out a white sheet to cover Dido’s body. The fabric fluttering down mirrored the setting of the dinner table in an earlier scene — the couple’s last true moment of happiness before the storm clouds rolled in.
Published on ClevelandClassical.com October 23, 2025.
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