REVIEW: “Lalovavi” is a Hero’s Journey Filled with Joy

By Liz Eichler with Ariel Mary Ann

Cincinnati Opera World Premiere

In front of a near-capacity audience that included opera leaders from across the country, Cincinnati Opera unveiled Lalovavi (lah-low-VAH-vee), the first of three planned commissions from the Black Opera Project. The atmosphere was charged with history in the making, including a Proclamation from City Council President Pro Tem Scotty Johnson. Among those in attendance was world-renowned mezzo-soprano Denyce Graves, who also appeared during the Opera Insights panel alongside members of the creative team.

Lalovavi ushers opera into a new era. It carves out a place on the grand opera stage for stories and cultures too often overlooked while embracing Afrofuturism, mythology, and Black joy with breathtaking imagination. If the Black Opera Project’s goal is to expand whose stories opera tells, Cincinnati Opera has taken a remarkable first step with this exciting comic-book-style superhero journey.

Think Black Panther meets The Wizard of Oz, with touches of The Little Mermaid, Avatar and classic mythology. It is an epic tale about resisting tyranny, reclaiming identity, and discovering that hope can flourish even after generations of oppression. There are a number of laughs as well.

The Story

Four hundred years in the future, Persephone lives inside Atlas, a sealed biodome ruled by her authoritarian father, Titan. The citizens have been taught that the world beyond the towering walls has been poisoned beyond repair. When Persephone discovers that Titan intends to exploit her rare genetic gift to achieve immortality and extend his brutal rule, she escapes with the help of her devoted servant Dinah.

Outside Atlas, Persephone discovers a vibrant world filled with lush forests, flowing rivers, and communities determined to reclaim their future. As she journeys toward the rebel homeland of Nunewaks, she uncovers her true heritage, reunites with her exiled mother, and ultimately embraces the destiny that transforms her into Lalovavi—the long-prophesied liberator whose greatest strength is compassion rather than conquest.

Rather than retelling familiar myths, librettist Tifara Brown and composer Kevin Day imagine an entirely new mythology rooted in Black American Afrofuturism. Director and dramaturg Kimille Howard writes in her program notes, “Our team was compelled to prioritize Black joy in a way that has never been done before in a grand opera.” That vision permeates every aspect of the production.

One of the opera’s most fascinating innovations is its incorporation of Tut (Tutnese), the coded language historically used within African American communities as a form of private communication. Brown transforms that language into the secret code of the resistance movement inside Atlas. Even the title, Lalovavi, means “love” in Tut, making this the first opera known to incorporate the language.

Music and Performances

Kevin Day’s score feels unmistakably contemporary. Rather than imitating nineteenth-century opera, it embraces cinematic orchestration, rhythmic vitality, jazz influences, moments of purposeful dissonance and soaring melodies while remaining thoroughly operatic. Under conductor Kevin Miller, the Cincinnati Symphony Orchestra performs with remarkable clarity and power, balancing the lush yet sometimes gentle orchestration with voices that remain consistently audible.

Brittany Olivia Logan anchors the evening with a commanding performance as Persephone. Her soprano effortlessly moves from moments of youthful vulnerability to gentle moments with loved ones and finally to thrilling dramatic power as the character gradually discovers her purpose. Her costumes also reflect this transformation, evolving from shimmering blues to warm apricot before culminating in an unforgettable warrior-princess bodysuit.

Adrienne Danrich delivers perhaps the evening’s emotional heart as Dinah. Her soaring spinto soprano and rich lower register beautifully express unwavering love and sacrifice, revealing remarkable endurance, particularly during the opera’s darkest moments.

Zoie Reams brings warmth and complexity to Zipporah, whose loyalty to Atlas never fully extinguishes her love for her younger sister. Her soprano is warm and buttery. Talise Trevigne is the spunky Niamara, Persephone’s exiled mother. Her soprano bathes Persephone in love and confidence. 

The Male Leads

Morris Robinson projects commanding authority as the tyrannical Titan with his sinister bass, while Michael Preacely provides a worthy baritone counterpart as Dr. Apollos. Their voices complement each other during their duets.

Terrence Chin-Loy’s Lucian offers lyrical warmth and sincerity, his lullaby earning one of the evening’s most enthusiastic rounds of applause. His crystalline tenor stands out, immediately signaling that Lucian is a force for good, even if Persephone needs more convincing. G. Thomas Allen’s rare ethereal countertenor as the mysterious Ivavi proves unforgettable, adding an otherworldly presence that may linger in your dreams. 

The first act spends considerable time establishing Atlas and its mythology, even opening with a block of explanatory text reminiscent of the famous “A long time ago…” introduction from Star Wars. But the investment pays off. Once Persephone crosses the city walls, the opera blossoms into a dazzling celebration of color, vision, and possibility. Clocking in at over three hours long, there is room for a bit of tightening.

A Feast for the Eyes

Much of that transformation belongs to choreographer Chloe O. Davis, whose inventive movement becomes one of the production’s greatest triumphs. The joyful marching band sequences are exhilarating, while dancing flowers, playful woodland creatures, and the rebels’ unified march into Atlas create images that excite the imagination. Dancers included: Maya Addie, Amber Mayberry, Salomé Tregre, Justin Daniels, Maurice Dowell and Llonis Del Toro.

Scenic designer Steven C. Kemp creates a bold Afrofuturistic world whose fluorescent palette intentionally evokes graphic novels and science fiction. Although a few moving scenic elements experienced opening-night hiccups, the overall vision remains striking.

Costume designer Kara Harmon masterfully uses color, texture, silhouette, and light to distinguish cultures and characters while charting Persephone’s personal journey. The flower costumes–paired with Davis’ impressive choreography–as well as Ivavi’s glowing ensemble are standouts of fancy. Tiara Jones’ Wigs and Makeup Design supports the many worlds, creating looks that remain impressive from the balcony–with or without opera glasses.

Lighting designer Thomas C. Hase supports the storytelling with clean visual focus, though the water and dream sequences could benefit from even stronger atmospheric effects.

Behind it all, stage manager Peter Nictakis keeps an extraordinarily complex production moving smoothly.

Overall

From the moment audiences enter Music Hall, they are immersed in the world of Lalovavi. Interactive displays, costume exhibits, and photo opportunities transform the evening into more than simply attending an opera—it becomes an event.

As co-reviewer Ariel Mary Ann observed, “Lalovavi is an epic tale of empowerment and taking back control. I found myself inspired watching Lalovavi accept the charge to fight for her people.” That sense of inspiration permeates the production from beginning to end. So if you feel you are under the control of a toxic dictator, and needing hope, this one is for you.

Lalovavi is ambitious, visually spectacular, emotionally sincere, surprisingly funny, hopeful, and, yes, joyful. More importantly, it expands the possibilities of what grand opera can be in the twenty-first century for audiences of every background. By premiering Lalovavi, Cincinnati Opera and the Black Opera Project open the door for many more stories waiting to be told.

Tickets

Lalovavi repeats on Saturday, July 11, 2026. Tickets are available at Cincinnatiopera.org or call 513-241-2742.

Run time approximately 3 hours, including 1 intermission

Content Advisory: Includes brief, non-graphic depictions of violence presented in a theatrical context.

Liz Eichler (she/her) is a member of American Theatre Critics/Journalists Association, and has managed LCT’s Stage Insights for over 12 years. Her career has encompassed arts, costuming, education, and arts education. She’s worked at the Professional Theatre Training Program at the U of Delaware, NJ Shakespeare Company, The Children’s Museum of Indianapolis, the U of South Carolina, and more. She’s taught Marketing and Theatre classes in higher ed. A proud mom of five amazing humans.

Ariel Mary Ann is a local theatre artist, actor, and playwright. Since high school, she has immersed herself in Cincinnati’s theatre community through performance, playwriting, and arts leadership, including work with CCM’s Transmigration Festival, Know Theatre, LCT, and Ghostlight Stage Co. A Black, queer, trans theatre artist, Ariel is committed to amplifying voices often pushed to society’s margins. A UC Women and Gender Studies graduate, she brings a lifelong passion for performance, storytelling, and community building.