When first listening to the Houston original cast recording of Treemonisha and then again when attending the 2000 Opera Theatre of Saint Louis production, I found the rescue scene particularly funny. Listeners and audience members hear Remus explain his plan for rescuing Treemonisha from the conjurors.
I’ll wear this ugly scarecrow
Back in the forest as Simon counts to three before shoving Treemonisha into the wasp nest, Remus’ approach interrupts the count. Dramatic irony creates comedy when the conjurors fail to recognize Remus, whom they could surely overpower. Seeing the “strange form” approach,“ Cephus cries out, “Look! What’s that comin’ yonder?” Panic ensues as the conjurors perhaps believe they face retribution for kidnapping Treemonisha:
Remus has successfully turned the tables on the unknowing conjurors, who prey on others’ superstitions but fall victim to their own. With this scene, we easily see Joplin accomplish two goals: showing the conjurors as charlatans and simultaneously injecting humor.
Once more, Joplin’s contemporaries may have seen more. Although today's audience may laugh at the naiveté of fearing a straw man set out to frighten birds, a closer look at scarecrows and the African figures resembling them may explain the conjurors' desperation.
I am a retired community college professor and the great-granddaughter of composer, orchestrator, arranger, organist, and teacher William Christopher O'Hare.
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