But the composer's stage works of more modest dimension would have been enough to earn him stature. "Orphee," from 1993, is a particularly striking example of his art.

The Mid-Atlantic area got a welcome, if long overdue, opportunity to experience "Orphee" last weekend in a visually classy, musically fulfilling production from Virgina Opera.

(Isn't it time a company in the composer's birthplace, Baltimore, embrace his operas? How about it, Peabody Opera? Lyric Opera Baltimore? Anybody?)

The fascinating nature of "Orphee" begins with its source -- the 1949 film of that name by Jean Cocteau, who retold the legend of Orpheus in the Underworld through a contemporary fable of a troubled poet. Glass took the original movie dialogue line for line and used that as the basis of his libretto for the opera, which is sung in French.

The story remains the same -- a mysterious Princess, really an agent of Death, makes dangerous choices after falling for Orphee, who is losing favor with the elite because his poetry has become too popular, and who starts to neglect his wife, Eurydice; the princess' chauffeur develops a crush on Eurydice; a radio conveys messages in a hypnotic code.

The most familiar aspect of the legend -- Eurydice being returned to the underworld when Orphee breaks the rule about looking at here -- is part of this tale as well, but with an optimistic twist.

The issues that Cocteau raised so stylishly in his film get fresh emphasis in the opera -- the creative impulse, the tension between popular and avant-garde art, love and fidelity, life and death.

Glass, writing in his most lyrical and even seductive vein, created a ...

(In an instrumental passage from Act 1, Glass seems to give a nice little nod to the most famous opera involving Orpheus, the one by Gluck; a sweet flute solo recalls the "Dance of the Blessed Spirits" from that earlier classic.)

Virginia Opera, which has a long history of moving beyond the safe borders of the repertoire, embraced the challenges of "Orphee" with care and attention, as was evidenced Sunday afternoon at George Mason University's Center for the Arts in Fairfax.

The physical production originated with Glimmerglass Opera and was used in 2009 by Portland Opera (the latter's performance generated a fine recording from Orange Mountain Music). Designed by Andrew Lieberman, the single set is an attractively sleek, up-market residence bathed in beige.

Kay Voyce's costumes neatly capture the essence of everyone from the oh-so-casual bright young things to the menacing motorcyclists controlled by the fur-draped Princess.

Sam Helfrich directed the action with an appropriately cinematic flair, while ensuring that the human emotions inside this symbolic, surreal story emerged tellingly. He conveyed the shifting between this realm and the underworld in clever ways, using doubles for some of the characters.

Matthew Worth soared in the title role. His big, warm baritone filled out the music beautifully, with lots of nuance in the phrasing. There was a natural, conversational quality to his singing that helped make his acting all the more persuasive.

Sara Jakubiak was a vivid Eurydice. Her diction was not always clear, but the soprano's vibrant, deftly shaded tone proved most engaging. 

As La Princesse, Heather Buck projected powerfully, if not with much color, and top notes turned strident. Still, she rose to the emotional peaks in Act 2 affectingly, making this curious character all the more sympathetic.

Jeffrey Lentz, as Heurtebise, the chauffeur, was a vocally slender presence, but he compensated with highly communicative phrasing. Jonathan Blalock also could have used more vocal heft. Still, he delivered a deftly drawn portrayal of the cocky, punk-poet Cegeste, whose new fame threatens to overshadow Orphee's.

The rest of the ensemble did colorful work, notably Christopher Temporelli as the head Judge in the Underworld.

Conductor Steven Jarvi shaped the score with admirable fluency and expressive detail. Members of the Virginia Symphony played as if Glass were a regular part of their musical diet, not only articulating the tricky patterns with clarity, but with great feeling as well. The orchestra gave the performance a beguiling sonic glow from start to finish.

PHOTOS BY DAVID A. BELOFF

Fisher happily shares her experiences in “Wishful Drinking,” a solo theatrical vehicle the actress/writer introduced in 2006 with considerable success. The show, which arrived at the Hippodrome this week, still has legs. The level of sturdiness, though, can vary from performance to performance. (Video from an earlier production -- pre-weight loss -- is posted below.)

There’s no use pretending that opening night on Tuesday went smoothly. Fisher, who could not have been more unflatteringly attired (surely her weight loss since becoming a spokesperson for Jenny Craig deserves a better outfit), often sounded halting, even with a teleprompter.

The uneven pacing made the show’s length more problematic, underlining the fact that ...

Even if you have seen “Wishful Drinking” before or feel like you already know her stories, the live experience is well worth the effort. Besides, she is likely to toss in fresh observations at any moment (on Tuesday, Newt Gingrich earned a very funny description).

Part of the attraction here is the age-old sport of celebrity-watching. In Fisher’s case, she’s got plenty of celeb cred on her own, having risen to the ranks of the cinematic immortals thanks to a certain sci-fi epic and an iconic hairdo that made her look like an ad for a doughnut company.

The “Star Wars” anecdotes, including the Princess Leia Pez dispenser and other merchandising horrors, still have considerable interest and zing. The saga of that far-away galaxy clearly left a mark — more like a scar, really — on Fisher. There may be no effective therapy for that.

Fisher’s literary efforts, too, have made her a star. “Wishful Drinking,” which unfolds on a fairly intimate, adult-playhouse set designed by David Korins, abounds in clever, witty writing. Fisher is as adept at fashioning a self-deprecating line as she is at aiming a great slice-and-dice assessment at others.

But Fisher offers much, much more in the fame department, which she thoughtfully explains through one of the early visual shticks in “Wishful Drinking” — a crash course in “Hollywood Inbreeding 101.”

There is something endlessly fascinating about the Fisher saga. Who could ever tire of hearing about her mother, the divine Debbie Reynolds, or her roving-eye father, Eddie Fisher? They’re the parental gifts who keep on giving. Even the peripheral characters, especially Marie “The Body” McDonald, are great fodder.

If memories of her long, on-off relationship with Paul Simon still smart, Fisher doesn’t let that stop her from revisiting the chapter in typically incisive and wry fashion. The man who died in Fisher’s bed gets his share of attention, too, as does the father of Fisher’s daughter.

For all of the fun side-trips in the show, every road leads back to Fisher and the crucial issue of her survival. “Wishful Drinking” is an extended lesson in everything counselors say about overcoming addiction or mental woes, especially the part about how acknowledging the problem is the first step, a step that has to be repeated daily.

When you hear the line at the top of the show, “I’m Carrie Fisher and I’m an alcoholic,” it provokes a laugh — she wants it to — but also a cringe. And for two hours, you’re part of group therapy, not just entertainment. The experience can feel a little strange, perhaps, a little voyeuristic, but the level of honesty and candor can work quite a spell.

Folks sitting in the front rows may find themselves drawn into the session more deeply than they had anticipated. Fisher amusingly employs audience participation, much the way Dame Edna does in her one-woman shows, including rewarding a lucky attendee with a stage appearance and memento of the occasion. And, also like Dame Edna, the interaction gives Fisher a chance to show off ad-lib skills.

In a deft touch, the star opens and closes “Wishful Drinking” singing a take on the ironic Barbra Streisand version of “Happy Days Are Here Again.” Fisher’s cares and troubles may not be entirely gone, but you want to believe she will be just fine from now on.

The production runs  through Feb. 12 at the Hippodrome. 

PHOTO BY CYLLA VON TIEDEMANN

Here's a video taste of the show:

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Ms. Williams also was involved in another bit of history -- she sang the national anthem at the Lincoln Memorial before Martin Luther King's delivered his "I Have a Dream" speech there.

Here is a disarming video clip of Ms. Williams describing her early career, which got a boost from the legendary ... ]]>

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