Sex, drugs and classical music: Pasaquan Opera brings St. EOM’s story to life

Eddie Owens Martin, also known as St. EOM, was the artist and visionary who built Pasaquan — a mystical and puzzling compound in his native town of Buena Vista, Ga.

Martin led an intriguing life that culminated in his puzzling and fascinating legacy at his compound at Pasaquan.

Now, Martin’s life has inspired an opera. James Ogburn, Pasaquan’s resident composer, has teamed up with librettist Scott Wilkerson to produce “Eddie’s Stone Song; Odyssey of the First Pasaquoyan.” The opera will star soprano Michelle Debruyn playing Martin and all other characters in the opera. Debruyn will be accompanied by the Columbus State University Contemporary Music Ensemble under the direction of Paul Hostetter.

According to a news release from CSU, “the opera brings together the visual, musical and theatrical arts to portray the life of Eddie Owens Martin, also known as the self-annointed ‘St. EOM’ and Pasaquan’s founder.”

“The opera explores the self-taught artist’s journey,” the release said. “From his upbringing as a sharecropper’s son to his life in New York to his return to Georgia to create Pasaquan.”

Ogburn said he is looking forward to the performance.

“I hope the audience takes away a sense of wonder, excitement and freedom of creativity that was Eddie’s life and what he became as St. EOM,” he said.

According to CSU, Ogburn spent a considerable amount of time at Pasaquan while writing the opera.

“Without a traditional stage and orchestra pit, he had to overcome logistical barriers in determining where to place the audience, vocalist and orchestra.”

CSU’s involvement with Pasaquan runs deep. The new opera debuts just one year after the university assisted with a complete renovation of Pasaquan in 2016.

Michelle Debruyn, the soprano starring in the new opera, recently corresponded with arts reporter Carrie Beth Wallace about her roles in “Eddie’s Stone Song,” the challenges the opera presents and the interesting setting.

Q: You are playing all of the roles in this opera. Is this a new experience for you? In what specific ways does this present a challenge as a singer?

A: Playing several characters at once is definitely a new experience for me. The characters will be differentiated with costume props. I am also changing the way I move for each character and my accent for Eddie. The story is absolutely intriguing and unique to our area.

Q: I think I remember you saying once that you love contemporary work. Is this correct? What excited you about this story?

A: I adore contemporary music and always find new works exciting. I had the opportunity to premiere James Ogburn’s songs entitled “Three Bills” not too long ago and was thrilled when he first informed me about this project. This was an opportunity for me to collaborate with him again and several other people whose work I also respect greatly: Carey Scott Wilkerson penned the libretto, Paul Hostetter is conducting the astounding student populated Schwob Contemporary Music Ensemble, Becky Becker is stage directing, Kimberly Garcia is inventing the costumes, Matthew McCabe is running sound — figuring out how to allow me to be heard over the ensemble in an outside venue, and Michael McFalls is our coordinator as the director of Pasaquan. In my opinion, a true dream team.

Q: Eddie Owens Martin led quite an interesting life. How does the opera highlight his eccentricity? Any examples of unique plot developments or characters that you can share?

A: There are a few disreputable characters who appear during the opera. Trixie O’Brien is a drag queen and hustler who first teaches Eddie how to survive on the streets of New York City. She makes her appearance amid the backdrop of jazz influenced music. Tille the Toiler was another queen who worked the parks with Eddie for a time. Her music is also quite fitting, mirroring her slinky and serpentine qualities. Eddie decided to go out on his own again when it became clear she was addicted to heroine. We have it all —sex, drugs and classical music!

Q: In your opinion, why should our readers come to Pasaquan and see the opera?

A: The opera is quite abstract, but always entertaining. It is a wonderful introduction to new music given its length (45 minutes), its scandalous undertones, and the fact that it is being performed in Eddie Owens Martin’s own space — the perfect backdrop. I really haven’t experienced anything like this before as a performer or audience member.

Q: What is your favorite part of the opera?

A: My favorite part of the opera is when Eddie’s father returns as the Ghost of Glen Alta. His music is fascinating with eerie harmonics in the strings, chimes and a chilling full stop.

Q: How has the rehearsal process presented challenges to you, the composer and the musicians?

A: When presenting a new piece for the first time, there is a overwhelming sense of responsibility to the composer and poet. You want desperately to do justice to their efforts and bring their work to life. It seems there is never enough time to rehearse new music and our time to prepare for this opera has been short indeed. I usually work on concert pieces presented in recital. Therefore, it has been a particular challenge to memorize the contemporary score in order to move around the stage.

Q: Is there a stage being brought in? Or will you perform on Eddie’s “stage” (walkway?) or inside any of the existing structures?

A: The stage is in fact the circular ceremonial sand pit at Pasaquan. There will be two platforms set up in the space as abstract set pieces. The audience will be seated in a semi-circle around the sand pit with the orchestra on the opposite side. The audience will be quite close to the “stage” and may even receive a personal visit from St. EOM.

Q: What else should our readers know about the opera? Why should Columbus come to Pasaquan for “Eddie’s Stone Song” this week?

A: This is a one of a kind experience. It simply cannot be recreated — so you’d better catch the performance. If you get tired of listening to me, you can always gaze at the art of Eddie Owens Martin, which people travel from around the world to see.

This story was originally published October 8, 2017 at 2:56 AM with the headline "Sex, drugs and classical music: Pasaquan Opera brings St. EOM’s story to life."