The overall impression at the opening on Saturday evening was of grandeur rather than clarity — particularly given the lustrous, commanding soprano Felicia Moore, who sings Susan B. Anthony, not wrongly, like the heiress to Wagner’s Isolde and Strauss’s Ariadne. Ms. Moore scales down her gleaming voice for the work’s many intimate passages, but this is still an enactment of Susan B. as mythical goddess.

Yet despite the iffy acoustics, “The Mother of Us All” still makes its impact here, conducted by Daniela Candillari and directed by Louisa Proske. Parading on and around a raised central playing space, the youthful cast is apt for these agonized, lovelorn characters, particularly Chance Jonas-O’Toole as a plangent Jo the Loiterer and William Socolof as an implacable Daniel Webster.

With its stylized (almost abstract) interweaving of the romantic and public lives of its characters — its account of personal and political achievement as both resulting from endless, trudging struggle — the piece remains as fresh as ever. Each time I see it, it feels like it’s been ripped from the day’s headlines.