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Music Theater Review: Eric Whitacre's 'Paradise Lost' at Walt Disney Concert Hall

In Broadway lingo, an angel is a show’s backer. On the Broadway stage, the most cherished angel, and one with actual wings, is the messenger from heaven in Tony Kushner’s great play “Angels in America.” But the most astonishing performance of a Broadway angel, if she ever gets to sing it on Broadway, will be Hila Plitmann Exstasis, the lead angel in Eric Whitacre’s “Paradise Lost: Shadows and Wings.” “Paradise Lost” is an elaborate hybrid musical/opera, or “electro-musical,” if you will. It’s a hybrid anime/post-apocalyptic high-concept spectacle about abandoned angels, wings clipped. Among the show’s extravagant requirements are opera and music theater singers, a decent cellist, a DJ, taiko drummers, a chorus 300 strong and an audience eagerly adept at suspending disbelief. Everything was in place Saturday night at Walt Disney Concert Hall for a well-attended, impressively performed semi-staging of the show, conducted by the composer.

Corny, a tad cultish yet weirdly accomplished — and certainly in the case of Plitmann and that huge chorus made up of high school and college kids, thrillingly sung — “Paradise Lost” is as hard to categorize as Whitacre himself. The 41-year-old composer from Reno, with his messianic long blond locks, has signed with a top London fashion model agency, Storm, and has taken the worlds-apart choral world by storm. He is a bestselling classical composer and a composer-in-residence at Cambridge University. His choral pieces, those with gooey consonances and sentimental texts, can be cloying. But when he rises to the occasion of texts by decent poets, he sometimes finds fresh originality. He is a charismatic conductor. He writes memorable tunes. He cannot be easily written off.

The musical and dramatic elements of “Paradise Lost” may not be new, but their combination is — "The Magic Flute” meets “La Bohème” meets “West Side Story” meets manga. And then there is that chorus. It thickens the musical plot with exaggerated grandeur. It also serves as a kind of musical black hole, with Whitacre’s harmonies supplying the strong gravitational force that pulls a listener in, if not always voluntarily. What Whitacre and his collaborators don’t offer is the occasion for post-apocalyptic angels to set foot out of a comic book.

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