Doctor Atomic: A complete bomb, literally

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            The Metropolitan Opera House was quite a scene on the evening of October 30^th, as anxious spectators swarmed the entrance to the showing of Doctor Atomic.
            Walking into the majestic opera house is an experience within itself. As we were ushered to our seats, the opera house’s monumentality was overwhelming. Professor Bernstein accompanied us as we glided down the aisle overlooking the orchestra. Suspended above us were the iconic Swarovski crystal chandeliers that decorated the ceiling like constellations in the abyss of the night sky. With the lights dimming, our eyes were fixated on the image of the periodic table of elements encompassing the grandiose stage. A wise opening choice as we learn the story of the development of the first atomic bomb, the Manhattan Project.
            As the periodic table became transparent, we saw the faces of the scientists who worked on the Manhattan project lined up in three rows. These images were projected on curtains, which were then raised, revealing the actual scientists standing in their own little cubicles, or laboratories. Almost by magic, about thirty people seemed to appear on the stage in a three-story box. The set design was perhaps the strongest part of the opera as it represented the test site, bomb tower, streets and buildings of New Mexico, and scientists’ laboratories. The craftsmanship of the bomb too deserves praise. The gadgets and buttons surrounding the bomb were very convincing; making it look as if it had came straight out from United States army’s bomb test site.
            There is no doubt that the opera singers had extraordinary voices. Despite this, the opera was overall an abysmal performance. In Act I Scene 2, we are in the Oppenheimers’ house, where Kitty Oppenheimer (Sasha Cooke) expresses her uncertainty about the atomic bomb. J. Robert Oppenheimer (Gerald Finley) reassures and consoles Kitty through poetic verses from Baudelaire. However, their relationship lacked chemistry and the coy and playful exchanges seemed unnatural In fact, there is a moment where Oppenheimer sensually smothers his face in Kitty’s hair, raving about her divine beauty. Although the message is passionate, he awkwardly holds and squeezes Kitty as if they were prepubescent teenagers experimenting their physical prowess. As a result, their affection appeared artificial and empty. Furthermore, the sequences of events seemed to progress in slow motion. Unnecessary time was wasted over arguing whether the weather conditions were fitting for the atomic bomb and General Groves’ weight problem, rather than discussing the actual affects of the bomb.
            Even though Professor Bernstein had heard from colleagues that the best part of the opera was the last fifteen minutes, it was instead the worst. The anticipation is heightened as the scientists clash over the building of the bomb, and the rain continues to flood down from the sky. The civilians and scientists gaze out at the audience waiting for what seems like ten minutes for the bomb to finally explode. Waiting for a catastrophic blast to ring in our eardrums and send vibrations beneath our feet, the audience is merely blinded by a flashing light for a few seconds. The audience was expecting a dramatic close to this calamitous event, but instead it felt like someone beamed a keychain flashlight in their faces.
            The Manhattan Project was a pivotal event in world history, ultimately leading to the atomic bombings of Hiroshima and Nagasaki, killing approximately 220,000 people. While the plot itself was interesting, the execution of the opera was lackluster. Though some may argue, less is more; Doctor Atomic simply didn’t live up to its elaborate and versatile set design and renowned stage, and instead, was a complete bomb.