John Conklin: American Theatre’s Master of “What If?
Remembering John: A Visionary’s Legacy in Theater and Opera
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John, a visionary artist, left an indelible mark on the worlds of theatre and opera. His approach to collaboration,his embrace of the unconventional,and his profound ability to find meaning in unexpected places defined his remarkable career. This article explores the essence of his creative spirit and the lasting impact he had on those lucky enough to work alongside him.
John possessed a rare gift for fostering genuine collaboration. He approached his colleagues with an open mind,actively seeking their input and valuing their perspectives. this willingness to engage in dialogue, to understand the challenges faced by others, and to solicit their advice created an surroundings where creative problem-solving flourished. His colleagues,in turn,were inspired by his dedication and his recognition for their contributions,leading to a shared sense of purpose and a collective drive to overcome obstacles. This synergistic approach was the bedrock of his success, transforming complex construction problems into opportunities for shared achievement.
Embracing the Quixotic: The Power of Instinct and Finding
John’s creative beliefs was rooted in a profound trust in the unknown.He encouraged his collaborators to “trust the mystery,” to “embrace the quixotic,” and to be “fearless and rigorous in protecting leaps into instinct and madness.” For him, “too soon to edit!” was a mantra, emphasizing that “chance was always more crucial than certainty.” The thrill of the chase, the journey of discovery, often culminated in immense breakthroughs during final tech rehearsals. Witnessing the convergence of all elements-the lighting,the sound,the performances-in front of the entire team and the actors,was an unforgettable experience. His vision, constantly evolving and being refined, lifted everyone involved. As Pat Collins‘s lighting illuminated new facets of their work, aspects that had previously been subconscious during their collaborative creation were brought to light, revealing the depth and richness of their shared endeavor.
A Life Dedicated to Art: The Final Curtain Call
John’s commitment to his art remained unwavering, even in the face of his declining health. Right up to the very end of his life, he was actively involved in tech rehearsals for four opera productions for Glimmerglass. Even from a hospital bed in Cooperstown, he participated via Zoom, demonstrating an exceptional dedication to his craft.His passing was peaceful, occurring shortly after the completion of these final technical rehearsals, with his last words echoing a sense of completion: “it’s done.”
A Moment of Profound reflection: Handel’s Messiah in the ER
Weeks before his death, during a visit from his friends Mark Lamos and Jerry, John shared a poignant memory from his initial hospitalization.After a small stroke, which marked the beginning of his final ordeal, he found himself in the midst of the dramatic and often chaotic environment of a busy emergency room. Despite the surrounding pandemonium, John was immersed in the music of Handel’s Messiah, having recently read Charles King’s book on its creation.
He recounted how, amidst the suffering and fear of the patients and the efforts of the nursing staff, he heard the words of handel’s oratorio-“Comfort ye…” and “Come to me…” and “Be lifted up”-as if they were a benevolent presence hovering over everyone.”I saw all these people,” he murmured, “struggling and in pain, desperate and ill and frightened, and the nursing staff trying to cope with them, and all during this kind of pandemonium, I was hearing, you know, ‘Comfort ye…’ and ‘Come to me…’ and ‘Be lifted up’ and it was as if this music and these words were hovering over all the people in the emergency room. ‘Comfort ye.'” This quite raptness,this sense of surprise and wonder,characterized his approach to finding a vision. The profound connection he forged between Handel’s music,its powerful words,and the human experience he witnessed in the emergency room encapsulated the very essence of how he worked and how he lived his life.
Mark Lamos* has been artistic director of three companies: Hartford Stage, for which he accepted a regional theatre tony Award, Westport Country Playhouse, and the California Shakespearean Festival. His work has been seen on and Off-broadway and in theatres around the country and overseas. He has also worked extensively in opera here and abroad.