Popular Culture Review Vol. 13, No. 1, January 2002 | Page 84

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Popular Culture Review

In DaPonte’s libretto, Masetto betrays a penchant for violence, albeit more verbal
than physical. When he learns of don Giovanni’s overtures, Masetto repeatedly
calls Zerlina a ‘‘hussy” and makes not so veiled threats, such as “Oh if it weren’t
for the scandal. I’d like— “ (Mandel 298). Set in a New York City slum, this scene
overtly criticizes contemporary American society in which Masetto and don
Giovanni are symptomatic of the routine violence that plagues the characters’ lives.
In the banquet scene of the opera, Sellars continues with his brutal expose
of American life. In a traditional staging of the opera and in most don Juan literature,
the hero dines on fine food, such as pheasant and wine. Leporello, despite being
appalled by the quantity of food prepared, sneaks tasty little morsels of the feast
and even sends his compliments to the chef. Elvira arrives and makes one last
vain, if earnest, effort to convince don Giovanni to repent. He scoffs and she leaves
in tears. Critics have suggested that, among other things, this scene establishes don
Juan’s physical appetite as a metaphor for his sexual cravings. The final scene
serves as a last reminder of the protagonist’s uncontrollable desire for food and
women. Sellars updates this scene into a metaphor for what ails America, namely
the dependence on too many quick fixes, be they physical, emotional, or religious.
A Filet-O-Fish Sandwich® and Coke from McDonald’s pale in comparison
to delicacies enjoyed by the orthodox don Giovanni. Furthermore, when don
Giovanni chews, spits out, and drips several packets of ketchup over the roll, he
too equates his gustatory and sexual appetites. His yen for fast food resembles his
desire for fast love. The regurgitated bun parallels the discarded women. The spilt
ketchup recalls the shed blood of violent seductions. Don Giovanni’s choice of
food may also betray an inherent misogyny. Numerous vulgar jokes center on
comparisons between the smell of the female anatomy and fish. Don Giovanni
flaunts his repulsion for both by spitting out the food. And yet, like so many fastfood customers, don Giovanni keeps going back for more. Leporello’s disgust for
his master’s appetite is understandable given the ingredients of don Giovanni’s
last supper. Leporello has no desire to steal tidbits of this nauseating banquet.
Instead, he chooses chicken McNuggets. His compliments to don Giovanni’s chef
can only be sarcastic. The fine dining of the traditional opera has been reduced to
a fast-food fix.
One of don Giovanni’s former conquests has also fallen prey to society’s
quick fixes. The born-again donna Elvira now carries a Bible instead of a knife.
She points out pertinent passages to the unrepentant don Giovanni. Gone are the
mini-skirt, colorful tights and sacrilegious jewelry. She wears non-descript pants
and top. In her desperate need to fill a spiritual void, donna Elvira has turned to
Jesus. Since the Faith Mission Church is located in the center of an urban drug
zone, its congregation is probably comprised of destitute outcasts, such as donna
Elvira. Throughout the opera, don Giovanni, Leporello, donna Anna, and other