ArtsEmerson's "Hamnet": A Typographical Era

Ollie West as "Hamnet"
(photo: Gianmarco Bresadola)

I'm not allowed to talk to strangers”, intones the titular hero before he starts an almost non-stop narrative of his brief and obscure life, one which must have been hard, you'd surmise, for a boy whose name was Hamnet, constantly having to live misperceived as a typo. This production by Ireland's Dead Centre Theatre, Co-Written by Bush Moukarzel and Ben Kidd (as well as William Shakespeare), is Directed by Moukarzel and Kidd (without Shakespeare), and is its U.S. premiere (its world premiere was in 2017 in Berlin). It is the first ArtsEmerson offering of the season, on Paramount Theater's Robert J. Orchard Stage. At a mere sixty minutes, it covers quite a lot of presumption-shattering ground. It's the story of Will Shakespeare's and Anne Hathaway's only son Hamnet, played by Ollie West (nominated for Best Actor by the Irish Times Theatre Awards this year), who died at eleven years after his father fled to London. Presumed to have been named after the Stratford-on-Avon baker Hamnet Sadler (a witness to Will's will), just as his twin sibling Judith was named after the baker's wife Judith, Hamnet considers what it means and what it costs to be great, or at least to be related to greatness. “I'm not a great man yet; you have to be a great man to meet a great man” adds the quite remarkable young West. As the bard wrote in Hamlet, the purpose of drama is “to hold as 'twere the mirror up to nature”. This production takes this literally at first, as the audience is faced upon entering with a televised onstage screen that will constantly change, and alter our perceptions of what is real and what is not, with brilliant uses of video not to be revealed here.

Ollie West as "Hamnet"
(photo: Gianmarco Bresadola)

Little is known of the real life of Hamnet other than that he died in 1596, and three years later the play “Hamlet” was written. Shakespeare never dramatized the loss directly, but probably alludes to it (in King John): “grief fills the room of my absent child”. This play addresses that loss with ample visual bits of comedy and numerous Shakespearean allusions and quotations. For a boy “one letter away from greatness”, what should perhaps remain unspoken portends the inwardness of Hamlet. As the authors note in the program, the boy remains trapped on the margins of great things, a celebrated father, literary fame, knowledge, life, and death. They further attest that Shakespeare had something of an obsession with parents compelled to tell their children how to live, and that “the dead haunt the living and the living haunt the dead”.

It's a cleverly profound piece that speaks of the father's writings to his only son, and conveys his theory that in his playwriting he was still writing to him. It manages to be timeless, as the presence of smart phones and allusion to the song “A Boy Named Sue” reveal. West is a wonder no matter his age; the part of Hamnet will be taken on by Aran Murphy in the last few performances here in Boston. The amazing Stage Design was by Andrew Clancy, with appropriate Costume Design by Grace O'Hara, dazzling Lighting Design by Stephen Dodd, eerily compelling Sound Design by Kevin Gleeson, and vitally important Video by Jose Miguel Jimenez. As Stephen Greenblatt wrote in The Death of Hamnet and the Making of Hamlet in the New York Review of Books: “who is more immortal, the one who lived mostly on stage, or the one who wrote the pages?”, and ultimately it tackles the question of being or not, and what makes a great man. Toward the end of the play, Hamnet proclaims: “in this harsh world, I did nothing”.

Yet, with his youthful directness, he answers the most disturbing existential question of all time: “I choose to be”.


SpeakEasy's "Riverside and Crazy": Rant Control

Lewis D. Wheeler, Maureen Keiller, Stewart Evan Smith,  Tyrees Allen
& Octavia Chavez-Richmond in "Between Riverside and Crazy"
(photo: Nile Scott Studios)

Leave it to SpeakEasy Stage Company to start off its twenty-eighth season with a Pulitzer Prize winner for Drama Between Riverside and Crazy by Stephen Adly Guirgis (Mother****er with a Hat). Guirgis is famous (or infamous) for unprintable titles and an unholy alliance of the sacred and the secular, as in his former works Jesus Hopped the 'A' Train, Last Days of Judas Iscariot, and Our Lady of 121st Street. This play is populated by his familiar types of con artists and misfits, living on the fringes of society, each with her or his little piece of dirt or secret they're covering up, each revealed with this playwright's uncanny ear for realistic dialog. Hailed as “the reigning poet of the obscene” or “bard of the underbelly”, Guirgis says he continually “swings for the fences”. This work arrives much heavier on plot than most of the plays being written these days, and thus more traditional in structure, more plot-driven, though riddled as usual with his discomforting mix of the philosophical and the profane. As Director Tiffany Nichole Greene sees it, the characters in this play share a deep-seated fear of failure, of being vulnerable, of realizing that what you finally see won't be enough; one's manhood and legacy are threatened, accompanied by broken intimacy and desperation. They fundamentally suffer from a fear of being seen, as they struggle to stay beneath the radar.

Alejandro Simoes & Tyrees Allen in "Between Riverside and Crazy"
(photo: Nile Scott Studios)

This work features an extended family of sorts, headed by Walter “Pops” Washington (Tyrees Allen), a retired disabled cop and recent widower. “Pops” shares his rent-controlled apartment with his son recently released from prison, Junior (Stewart Evan Smith), Junior's girlfriend “student” Lulu (Octavia Chavez-Richmond) and Junior's pal Oswaldo (Alejandro Simoes). There is also a Church Lady (Celeste Oliva) and two police officers, Lieutenant Caro (Lewis D. Wheeler) and his girlfriend and colleague Detective O'Connor (Maureen Keiller). All are at one and the same time incredible but true characters, or as the playwright himself puts it, comprise a glorious mass of contradictions. As Lulu proclaims: “I may look how I look, but that don't mean I am how I look”. The same could be said for all these players, most notably “Pops”, a father figure yet stubborn and not above extortion in a battle to retain his dignity and pride, determined to hang on to his place because he's lost almost everything else. As is true for most of us, he wants something to symbolize that it was all worth it. In this hectic world of bologna ring dings, with a son not living up to his father's dreams (as Pops urges, “hurry up and become a man already, so I can break a hip and die”) and pressure from others for their own financial and political gain, the only response these tormented souls can muster is to rant. At the heart of the play is the fact that Pops can be more emotionally available to people unrelated to him, in whose histories he has no role or responsibility. How he finally stoops to conquer won't be revealed here, but it hinges on a high stakes game he refers to (ironically, in context) as “poker”.

Tyrees Allen & Stewart Evan Smith in "Between Riverside and Crazy"
(photo: Nile Scott Studios)

Greene, in her Speakeasy directorial debut, evinces profound understanding of these walking wounded and draws from this cast fascinatingly complex individuals, most notably Allen in a towering portrayal, with Smith, Chavez-Richmond, Simoes, Oliva, Wheeler and Keiller each giving memorable arias. The complicated Scenic Design is by Eric D. Diaz, with apt Costume Design by A. W. Nadine Grant, fine Lighting Design by Daisy Long and Sound Design by Nathan Leigh. Appropriately, credit is also given to the intricate Props Design by Jennifer Butler.

Octavia Chavez-Richmond, Stewart Evan Smith, Tyrees Allen, Lewis D. Wheeler
& Maureen Keiller in "Between Riverside & Crazy"
(photo: Nile Scott Studios)

It's no wonder that this excellent work, SpeakEasy's finest achievement in recent memory, has earned so many accolades elsewhere (which Guirgis eschews as meaningless). In all of his plays, God, fate and divine justice simmer beneath the surface in what he describes as meditations about trying to put away childish things. He asserts that what matters to him most are stories about people in pain (mostly in the New York City he knows best) who, against all odds, maintain faith in the possibility of their own redemption, believing that they are the victims of a cosmic joke.

If true, the joke's on them (and us). Find out at the Calderwood Pavilion through October 13th.


Zeitgeist's "Vicuna": Coats of Many Collars

Srin Chakravorty & Steve Auger in "Vicuna"
(photo: Nile Scott Studios)

For the opener of its final season, Zeitgeist Theatre Company is presenting the New England premiere of the revised play Vicuna by Jon Robin Baitz (Other Desert Cities), a choice that is as timely as it is “suitable”. A celebrated Iranian Jewish immigrant who has become a celebrity tailor, Anselm Kassar (Robert Bonotto) serves famous, wealthy, and powerful clients. He finds himself trying to accommodate a very unusual one: a real estate tycoon and reality television star conveniently named Kurt Seaman (Steve Auger), short on substance but long on bluster, who, to universal surprise, is nominated by a major party for the office of the President. As the campaign spirals out of control, including in its vortex the candidate's daughter and campaign manager Sri-Lanka Seaman (Srin Chakravorty) and conservative Senator (and RNC Chair) Kitty Finch-Gibbon (Evelyn Holley), Kassar and his Iranian Muslim apprentice Amir Masoud (Jaime Hernandez) are forced to examine their complicity (as confidants and image-makers) and whether just the right suit has the power to win a debate and ensure the presidency. There are serious choices to be made, from a set of possible collars to the luxuriousness of the fabric. The play received its world premiere in Los Angeles two weeks before the 2016 election. Afterwards, Baitz revised the work to reflect the horror that had transpired in the election, which he called The American Epilogue, in the form of a brief prologue and extensive epilogue. What can one say about this depiction of a national presidential campaigner whose slogan is, “Seaman loves women and women love Seaman”? But such sleaze could of course never happen here, right?

Jaime Hernandez & Srin Chakravoty in "Vicuna"
(photo: Nile Scott Studios)

Though real names are eschewed, perhaps for legal reasons, it's never unclear about whom the playwright is expounding, with unsubtle references to a pant-suited female opponent and the like, and therein lies a problem with this work. One is never quite sure what is intended as commentary and what is meant as satire. Difficult as it is to satirize what is in reality already a parody, the play ricochets from serious political polemic to surreal fantastical farce. In fact, it could be said to be two distinct plays, or at least representing two distinct yet related points of view. The small but largely impressive cast of five are a treat to see and hear (though several could profit from an increase in volume), from Auger's horrific bombast to Bonotto's patient wisdom, to Hernandez's passion, to Chakravorty's conflict, to Holley's deal-making. While it's surely not on a par with his previous works, Baitz presents some intriguing and original twists and turns, none of which will be revealed here. Suffice it to say that the author has enough creative concepts for any two plays, including a sight gag or two and a modern take on The Emperor's New Clothes. And who knew vicuna was going for a couple thousand or three per yard these days?

Jaime Hernandez, Robert Bonotto, Srin Chakravoty & Steve Auger in "Vicuna"
(photo: Nile Scott Studios)

Speaking of clothes, for this production, the crucial Costume Design was by Elizabeth Cole Sheehan, with Lighting Design by Michael Clark Wonson, and Sound Design by J. Jumbelic. As has been the norm for Zeigeist, the Direction and Scenic Design were by David Miller, the company's founding Artistic Director, who previously had announced that this will be the company's last season. It is fondly hoped that Miller will resurface in future directorial and other roles, as both he and his edgy and challenging repertoire will be sorely missed. This, their penultimate production, “bespokes” well for the one remaining offering this spring, Trigger Warning, a world premiere by Jacques Lamarre. In the meantime, one could ponder the warning which the character of Seaman bloviates: “There's only one American dream left, and that is to take what's left”.

Then why are we still laughing? Find out at the Black Box Theater through October 6th.

Greater Boston's "Earnest": Revisiting Victoria's Secret

The Cast of "Being Earnest"
(photo: Nile Scott Studios)

Epigramatically speaking, Becoming Earnest, the season opener for Greater Boston Stage Company, is a Wilde romp, that is, it's based on Oscar Wilde's most popular play, the 1895 work The Importance of Being Earnest. Who anticipated that it would be turned into a new musical? And set in London in 1965? Intentionally Wildean comic quotations abound, presented very much tongue in cheek, which must make it awfully difficult to sing. In any case, it's actually not the first time the play was reworked as a musical comedy; it was also performed as an opera in 1961 by Mario Castelnuovo-Tedesco presented a couple of seasons ago in Boston by Odyssey Opera. In this iteration, Wilde's wise and witty words prove once more both their truths and their timelessness.

Kerry A. Dowling, Dave Heard & Will McGarrahan in "Being Earnest"
(photo: Nile Scott Studios)

The plot follows that of the original play. John/Jack Worthing (Dave Heard) visits his best friend Algernon Moncrieff (Michael Jennings Mahoney), who knows him as Earnest in the country, with the intention of proposing to Algernon's cousin Gwendolen Fairfax (Sara Coombs). Algernon discovers a cigarette case inscribed “to Uncle Jack from little Cecily”; he learns that Jack is living a double life in the city and that the lady in question is Jack's ward, Cecily Cardew (Ephie Aardema), with whom Algernon falls in love. Gwendolen and her mother Lady Bracknell (Beth Gotha) arrive. Lady B. is horrified to discover that Jack was found as a baby left in a handbag at Victoria Station. Meanwhile, Algernon seeks out Reverend Chasuble (Will McGarrahan, who also plays characters named Lane and Merriman, butlers in the original), to be baptized as “Earnest”, since his beloved insists she will only marry someone with that name. All turns on the secret revolving around that handbag, revealed by Cecily's tutor Miss Prism (Kerry A. Dowling), who lets the cat out of the bag, so to speak. And all ends relatively well as Jack declares he has discovered the “vital importance of being Earnest”.

Fortunately, the show's creative team has respected the original text by Wilde; the Book is attributed to Lyricist Paul Gordon, but the true authorship belongs to Wilde. Having been reduced from three acts to two, with an added musical score (by Gordon and Jay Gruska), it's most effective when utilizing Wilde's very words, which it consistently does. The text may have been edited down with a slight change in tone, but the verbal wit remains. The star of the creative team is fittingly Wilde himself. Or he's one of the stars, the other being the Director and Choreographer Ilyse Robbins, who's never been better (and that's saying quite a lot); the entire cast of seven expertly capture the era's fluid movements. The period Music Direction was by Steve Bass, with clever Scenic Design (including some ingeniously helpful pocket doors and an overhead fractured and faded Union Jack) by Nick Oberstein, crucial “mod” Carnaby Street Costume Design by Gail Astrid Buckley, apt psychedelic Lighting Design by Jeff Adelberg and fine Sound Design by John Stone.

The Cast of "Being Earnest"
(photo: Nile Scott Studios)

The score is pleasant, rather like a cross between Burt Bacharach's 1968 work Promises, Promises and the more recent (2013) A Gentleman's Guide to Love and Murder. Some numbers end somewhat abruptly, such as the song at end of the first act, “Brothers” (Algernon and John) and the “Bad Behavior” finale to the show. It consists of a dozen original songs with no fewer than ten (thus too many) reprises, many of which serve to illustrate the lack of much variety in the composing of the score. The lyrics are more memorable, with allusions within the songs such as to the musical Man of No Importance which featured Wilde. The mix of the original text and the era of Carnaby Street's excesses too often come across as schizoid. That said, songs like “I Wish You Were Old” and visual references such as Algernon's singing of twisting while doing the twist, fit right in. It's not an easy task to pull off.

Fortunately this cast is up to that task. Mahoney is a master of movement, as is Heard, and they make a superb vaudevillian team. Aardema and Coombs are their perfect foils, and Gotha makes a memorable Lady Bracknell when pontificating about “style vs. sincerity”, or referring to Earnest as a “parcel”. It must be said that she's not the typical rendering of the pompous battleship that is Bracknell who commands a room merely by entering it, but one soon forgets this when she delivers those caustic barbs. And one can't overlook the welcome embarrassment of riches in the casting of two local favorites, Dowling and McGarrahan in supporting roles. Individually and collectively, it's a team cast in theatrical heaven.

As Algernon puts it about people in general, “some cause happiness wherever they go; others, whenever they go”. The former could equally be said overall of this show, a fresh and pleasantly enjoyable bon-bon.


Huntington's "The Niceties": Who Gets to Tell Herstory

Jordan Boatman & Lisa Banes in "The Niceties"
(photo: T. Charles Erickson)


With a single Latin word, playwright Eleanor Burgess has revealed what is at the core of her play The Niceties, the smashing season opener for Huntington Theatre Company (in association with Manhattan Theatre Club and McCarter Theatre Center): “I have sinned”. Spoken by the character of Janine (Lisa Banes), an established professor at a New England university (easily recognized in context, though not explicitly, as Yale) to her student Zoe (Jordan Boatman), it's a potent piece of paternalism rather begrudgingly offered up by a supposed mentor judging her student's proposed written thesis. It rings hollow both in substance and delivery, and this will come to be seen to be Burgess' intent. While this teacher is content to express a somewhat facile act of contrition, her mentee will have nothing of it. Thus begins an extraordinary battle of conflicting visions, one that might at first be dismissed as just another two-hander presenting two opposite views (similar to David Mamet's recent work Oleanna in theme if not structure), about just who should be the voice of a historically oppressed people. Who, in the end, gets to tell herstory, the academic or the activist, especially if the conditions for their oppression are not merely historic but persist, is the author's fundamental question.

Jordan Boatman & Lisa Banes in "The Niceties"
(photo: T. Charles Erickson)

Excavating the source of that quest consumes this ninety-minute verbal joust, filled with quite a few excoriating jibes at the assumed presuppositions and preoccupations of encrusted academia. The playwright (a Brookline native) wastes little time on the niceties of this teacher/student confrontation; it's a contesting moment, rapidly delving into what lies beneath their mutual role playing. As an exploration (or exhumation) of tacitly accepted hypotheses, it's a mind-expanding verbal roller coaster that questions more than it answers. Superficially, the work may be appraised as an examination of two diametrically opposite theses, initiating with a rather esoteric treatment of the impact of moderate versus radical revolutions, but soon evolving into a consideration of the typical exclusion of minorities from the stories. Some of the dialog, especially that written for Janine, is as esoteric as this sounds, but Banes, with a healthy measure of self-deprecating humorous defense mechanisms, makes her equally repressed character mostly believable, even in a basic story that at times strains credulity. It's a measure of how fine the acting and tight direction (by Kimberly Senior) are; not only Banes but also Boatman manage to present two fascinatingly complex (and not particularly likable) opponents. Neither character is presented as right or wrong, but even when admitting having made mistakes, each has been carefully taut.

Lisa Banes & Jordan Boatman in "The Niceties"
(photo: T. Charles Erickson)

This production would be well worth attending just to see two consummate actors spar with the witty and wise creation by Burgess (a former Huntington Playwriting Fellow). But the creativity doesn't stop there. The Costume Design by Kara Harmon is ideal for the time (2016, as the national political debates were devolving) and the personalities presented by Banes and Boatman. The Lighting Design by D. M. Wood and Sound Design and Original Music by Elisheba Ittoop also contribute to the apt depiction of collegiate norms. But it is the Scenic Design by Cameron Anderson that grabs one from the first exposure to her slanted depiction of a more-than-slightly skewed, uneasily claustrophobic setting, every historical book artfully disarranged. If you've been paying attention to the décor, you might just realize what has gone missing from the set during intermission and tellingly reappears at the end.

So, do observe the niceties, at the Calderwood Pavilion in the South End, until October 6th.


New Rep's "Straight White Men": Monopoly Is Not a Bored Game

Michael Kaye, Shelley Bolman, Dennis Trainor Jr & Ken Cheeseman in "Straight White Men"
 (photo: Andy Brilliant/Brilliant Pictures)
Upon entering New Rep's Mainstage Theater for a performance of Playwright Young Jean Lee's Straight White Men, (having just closed on Broadway), one is assaulted by irritatingly loud music; this pre-show music is just the first of several intentionally confrontational challenges to come. It's Lee's intention to create a feeling that the play is to be performed under the control of people who are not straight, white, or men. She states in the program that this is the goal not only of the music but also the “curtain speech” (appropriately not announced by the company's Artistic Director Jim Petosa). Even the transitions between the three “acts” (actually extended scenes without any intermission) are all under the supervision of the “Person in Charge” (Dev Blair), a non-binary performer of color (in the New York production, two persons). The setting is a rumpus room in an undisclosed locale wherein the Norton family gathers ostensibly to celebrate their traditional (secular) rituals of Christmas. These rituals include multiple incidents of immature horseplay that seem to be their primary means of intercommunication, along with synchronized dancing (yes, you read that right). What evolves is a surreal negative mirror of the old television sitcom “My Three Sons”, a family selfie that thrives on a sort of warped vision of basically toxic masculinity. It's apparent that this play is neither a comedy nor a tragedy, nor is it a tragicomedy, but a non-binary work along the spectrum of theater pieces.

The family consists of the father, Ed (Ken Cheeseman), his youngest son Drew (Michael Kaye), the middle son Jake (Dennis Trainor Jr), and the eldest sibling Matt (Shelley Bolman). Ed is intent on preserving the family rites, from the stockings hung by the chimney with care to their annual feast of Chinese takeout to the battered old Monopoly game repurposed by their late mother and rechristened “Privilege”, in an effort to instill in the good old boys the maxim once uttered by JFK, that of those to whom much is given much is required. Certainly that's still the view of Ed as he reminds Matt (who's seemingly going through a rough period and has come home to live with his father) that much has been “invested”. Drew, apparently the recipient of one too many psychotherapy sessions, castigates Matt for what he calls underachievement, of not sufficiently loving himself, while banker Jake accuses him of not successfully selling himself. Drew goes nastier with his declaration that Matt suffers from low self-esteem, a loser “for no reason”. Much of this familial angst goes unresolved, but that doesn't diminish its insights and thought-provoking challenges to an audience's predispositions. Matt (and we) are left with the quandary of “how to be useful”.

Much has been made of the fact that Lee is Broadway's first female Asian-American playwright with this (only her tenth) play. More impressive is the fact that such a relative newcomer could land so solidly on Broadway at all. As here Directed (and presumably Choreographed) by Elaine Vaan Hogue, with apt Scenic design by Afsoon Pajoufar and pluperfect Costume Design by Chelsea Kerl, as well as efficient Sound Design by Lee Schuna, it's quite a debut. It's a true original, with considerable food for thought. Even with such a wondrous cast, one could wish for some trimming in the dancing scenes, allowed to continue long after making a point. Otherwise the direction and storytelling are brilliant.

Vann Hogue references Lee's position that straight men can't make the world more diverse by doing whatever they want; there are expectations on them that require them to do something. In the end, what values do we want straight white men to espouse? Do we wish Matt would align himself with the traditional patriarchal structure? What do we want anyone to do, what do we value, really? Find out at New Rep, through September 30th.



Lyric Stage's "Spider Woman": Verdad Is Still Verdad

Eddy Cavazos & Taavon Gamble in "Kiss of the Spider Woman"
(photo: Lyric Stage Company)

His name was Molina.

And as the central character in the many incarnations of the story Kiss of the Spider Woman, he has endured, from book to film to stage, arriving this season as Lyric Stage Company's opener. It all started back when Fred Ebb (of the show-writing team of Kander and Ebb) saw the 1985 film based on the 1976 novel and 1983 play by Manuel Puig, El Beso de la Mujer Arana, and first shared it with John Kander, then with the legendary director Hal Prince. They invited Puig to consider writing a libretto for a musicalized version, but he demurred, and the Book was eventually written by Terrence McNally. The musical premiered in Toronto in the summer of 1992, then opened in London's West End, with its ultimate Broadway premiere in 1993, when it was nominated for 11 Tony Awards, winning 7 including Best Musical, while running for over 900 performances. This current production should give theatergoers a unique opportunity to see this seldom-produced work.

Lisa Yuen & Cast in "Kiss of the Spider Woman"
(photo: Lyric Stage Company)

The time is the recent past. Molina (the appealing Eddy Cavazos), a homosexual window-dresser is imprisoned in an unnamed South American country (Argentina would be a safe bet) for allegedly corrupting a minor. He maintains his sanity by re-imagining scenes from films made by his goddess the actress Aurora (Lisa Yuen). Suddenly one night into his cell is thrown an unconscious, brutally beaten political prisoner named Valentin (the dynamic Taavon Gamble). When this new prisoner, a Marxist revolutionary, regains consciousness, he rejects Molina's attempts to befriend him. Instead he visualizes his girlfriend Marta (Katrina Sofia). Molina continues to extol his movie star, in all her roles save one, The Spider Woman, in which Aurora played the figure of death. Molina develops serious stomach cramps and is taken to the infirmary where he visualizes his mother (Johanna Carlisle-Zepeda) who assures him he could never bring shame on her. When Molina returns to his cell he starts to succeed at entertaining Valentin and in fact begins to fall in love with him. Valentin, hoping to convince Molina to contact his compadres, seduces Molina and gets him to promise to phone his conspirators once he is freed. The Warden (Luis Negron) tells Molina his mother is very sick and that he will be freed to visit if he reveals the names of Valentin's peers, which he pretends to do. Once in his mother's house, Molina does call Valentin's friend, is caught and re-imprisoned. Refusing to compromise Valentin and reveal his fellow rebels, Molina declares his love. Aurora, in the guise of the Spider Woman, finally gives him her kiss. Molina declares he walks “in Technicolor now”, having experienced true and pure love with Valentin.

Eddy Cavazos & Taavon Gamble in "Kiss of the Spider Woman"
(photo: Lyric Stage Company)

And therein lies the major problem with this production. In program notes, Rachel Bertone (Director and Choreographer) ominously states: “I hope my interpretation of the ending shows how this partnership can teach us to love”. Unfortunately what this does (not to revealed here) is subvert the fundamental message of many kinds of love, including non-sexual ones that convey the generosity sometimes needed to recognize basic human needs. With a terribly wrong-headed tacked-on ending, not only does fantasy obliterate reality but you end up with a drastically sluggish second act. Having read Puig's original novel and the play he wrote based on it, as well as seen the film version and the original Broadway version (each of which has slightly differing endings, but none of them as misguided as this mounting), one has to conclude that somewhere along the evolution of this current show, the sexy and seductive subtext has been lost, along with dramatic tension. Some of the strengths of the original remain, notably the Tony-winning score, which includes the lovely music to “Dear One”, the energetic “Where You Are”, Molina's mother's plaintive “You Could Never Shame Me”, and the prisoners' anthem “The Day after That”. That said, it's one of those scores that registers in context, not as stand-alone numbers. Some of them, no doubt originally added to support the casting of a well-known dancer (Chita Rivera) in the title role, come across as intrusive and redundant. What this version fundamentally lacks is an acknowledgment that Valentin offers Molina what he craves, in an almost noble and kind gesture, albeit one with some political motives. It's complicated by its arbitrary ending here. Nonetheless, if one hasn't had the chance to see this show before, get thee to Lyric Stage Company.

The production has Scenic Design by Janie E. Howland, Costume Design by Marian Bertone, Lighting Design by Franklin Meissner, Jr., Sound Design by Andrew Duncan Will, and Projection Design (so important in a work so focused on visual fantasies) by Johnathan Carr. Also featured in the cast are the roles of Estaban (Diego Klock-Perez), Marcos (Davron S. Monroe), Emilio (Arthur Cuadros), Gabriel (Ricardo Holguin), and the Ensemble including Bernie Baldassaro, Arthur Gomez, Felton Sparks and Lance-Patrick Strickland.

Eddy Cavazos & Luis Negron in "Kiss of the Spider Woman"
(photo: Lyric Stage Company)
The two men uphold what has been described as the triumph of the human heart, as they progress from mutual mistrust to an offbeat kind of love, as they learn to live together or die, all the time facing torture and death. While Ebb claimed that his and Kander's “only aim is to move people, and to entertain them”, this show, as with their Scottsboro Boys, is all about power, or its abuse. As the Warden puts it: “first define human, then we'll talk about human rights”. It's a message that should shake us up, that verdad is still verdad.



Tanglewood: Final Balm in the Berkshires

Susan Graham, the Boston Symphony Orchestra & Choruses under Maestro Andris Nelsons
(photo: Chris Lee)

This past weekend at Tanglewood, which has focused this season on the varied indelible contributions by Leonard Bernstein, the final classical performances by the Boston Symphony took place, including a performance of Mahler's Symphony #3, a piece that Bernstein himself often conducted and championed, thus an especially appropriate selection for the summer-long celebration of what would have been Lenny's 100th birthday. Often listed as one of the ten finest symphonies in the classical repertoire (and the longest), this work was a thrilling choice for the first concert of this weekend. As author Peter Franklin quotes the composer in an exhaustive examination of the piece in his Mahler Symphony No.3, Mahler declared that “my symphony will be something the world has not had before...the whole of nature finds a voice in it and reveals profound mysteries such as what one might intuit in dreams”. Written in 1896, with no fewer than six movements, it incorporated sources such as the work of Nietzche and choral folk poetry (from another work, subsequently performed the following night of this Tanglewood tribute, Des Knaben Wunderhorn).

The composer insisted from the very beginnings of his work on the importance of the titles of his half dozen movements: Pan awakes and summer marches in, what the flowers in the meadow tell him, what the forest animals tell him, what man tells him, what the angels tell him, and what love tells him. It was composed in a simple little summer cottage on the Altersee in Upper Austria, so the influence of these pastoral surroundings is undeniable, as is the bucolic resonance of Tanglewood's shed. The solo in the fourth movement and women's choir in the fifth movement (“heavenly joy knows no end”) featured Susan Graham singing Nietzche's Also Sprak Zaranthustra. Mahler noted that: “a symphony means to me the building of an imaginary world with the aid of every resource of musical technique”, but that this work didn't keep to traditional forms of a symphony. The composer utilized extra brass, especially trombones and French horns, with themes suggesting pre-History, the way suffering became more prominent, that “the world is deep” and that heaven is man's ultimate goal. There were very minor glitches in pitch from the brass near the start, but these were soon forgotten in the sharper performance which followed, including an off-stage extended trumpet solo (and two snare drums as well). Mahler may have had some difficulty finding an ending for his final movement, but it was captivating from both early quieter and later more bombastic segments. The orchestra, Women of the Tanglewood Festival Chorus and the Boston Symphony Children's Choir, under Conductor Andris Nelsons, all gave this popular piece their best.

It was a thoroughly enjoyable night under the stars and yet another weekend of balm in the Berkshires.


"Moulin Rouge! The Musical": Ooh La La!

Karen Olivo & Aaron Tveit in "Moulin Rouge! The Musical"
(photo: Matthew Murphy)

Anticipation was huge from the first announcement that Boston's beloved Colonial Theater, saved from conversion to a student cafeteria, would be totally refurbished and restored to its well-deserved brilliance. The news was coupled with an announcement that its first tenant would be the world premiere of a stage musical production of Moulin Rouge!, based on the 2001 Baz Luhrmann movie that was nominated for Best Picture that year. Mounting a full scale revision would be an enormous challenge, and was preceded by much hoopla and dire predictions that it would never work, considering the source material that was an over-the-top but enjoyable mess.

Danny Burstein in "Moulin Rouge! The Musical"
(photo: Matthew Murphy)

Hoopla La La, the naysayers may rest in peace. Moulin Rouge! The Musical has made the transition from screen to stage with much of its facets (including its titular exclamation point) intact, and quite a few pleasant surprises. As impresario Harold Zidler (Danny Burstein) declares at the start, “Welcome bohemians and aristocrats, boulevardiers and mademoiselles to the Moulin Rouge”, and a spectacular sextravaganza it is. Visually stunning, emotionally stirring and shamelessly entertaining, this is a theatrical marvel that had most of its rapt audience smiling from ear to ear for close to three hours. It's an absolute revelation of what the term sui generis means, a truly one-of-a-kind eccentricity that defies categorization, as though one were witnessing Cirque du Soleil on speed. It's an old cliché but never a truer promise that you have never seen anything quite like it.

After a twenty-minute ingeniously choreographed ( by a wizard named Sonya Tayeh) opener, chock full of allusions to songs of all stripes, we're introduced to American composer Christian (Aaron Tveit) who commences via flashback to tell the story of his arrival in Paris where he finds his one true love, the chanteuse Satine (Karen Olivo), and his encounter with new-found friends struggling painter Toulouse-Lautrec (Sahr Ngaujah) and dancer/gigolo Santiago (Ricky Rojas) and his current squeeze Nini (Robyn Hurder). Those familiar with the film will recall the sinister role of the Duke of Monroth (Tam Mutu) who is also infatuated with Satine and has the money to buy the whole of Moulin Rouge including its star performer. There are several indications along the way that prepare us for what can only be an unhappy end, as Satine's health becomes more and more conspicuously consumptive. There is still so much to take in with all of its visual splendor that we are all just that, taken in.

Karen Olivo, Tam Mutu & Company in "Moulin Rouge! The Musical"
(photo: Matthew Murphy)

Not a few in the audience had their own terminal cases of the “whoop whoops” so prevalent in theater today (and one might snipe at the snippets of songs), but one may easily ignore their robotic ecstasy in favor of one's own enjoyment of a display of talent that is almost overwhelming. Olivo (a Tony winner for “West Side Story”), with not one but two dazzling entrances, is breathtaking, and Tveit (first seen in these parts at North Shore Music Theatre's 2007 “Three Musketeers”) is equally magnetic. Burstein has never been better (and as a six time Tony nominee, this just may be his time), supremely in character even when in darkness. Ngaujah (Tony winner for his title role in Fela!), portrays effectively a suggestion of disability and a heart and soul on full display. Rojas and Hurder provide an seductively amusing subplot and some scorching numbers. There's a dynamo of a trio in Jacqueline B. Arnold, Holly James and Jeigh Madjus. And then there is the entire ensemble of triple-threat singers who can also dance and act, under the complex but eternally focused Direction by Alex Timbers.

Aaron Tveit, Sahr Ngaujah & Ricky Rojas in "Moulin Rouge! The Musical"
(photo: Matthew Murphy)

On a par with the sublime performances are the creative contributions, much of it tongue-in-cheek. While one can't hum the sets, one can surely extol the Scenic Design by Derek McLane. Charming one with its spectacle and its whimsy (as in its amusing depiction of an artist's garret a la Luhrmann's La Boheme, right down to the “L'Amour” neon sign), this is one hell of an eye-opener (as Satine ironically notes about her gaudily opulent elephantine apartment: “it's subtle, I know, but it amuses me”). The Book by John Logan isn't what one would call complicated, but it's overflowing with characters who know how to crack wise. The Music Supervision by Justin Levine is fabulously intricate work. The Lighting Design by Justin Townsend and Sound Design by Peter Hylenski are extraordinary as well. But it's the Costumes by multiple Tony winner Catherine Zuber that may well endure as the production's most unforgettable experience, in sheer numbers, gorgeousness and jaw-dropping awe.
At the end of the show several characters encapsulate what the Moulin Rouge has always meant to them: Truth, Beauty, Freedom, Love. Come to think of it, that could just as aptly be applied, in addition to Moulin Rouge! The Musical, to the joy of theater.


Tanglewood Trio: Mostly from Russia with Love

Ken-David Masur & Kirill Gerstein at Tanglewood
(photo: Hilary Scott)

The Boston Symphony at Tanglewood has been offering a cornucopia of musical treats every weekend all summer long, and none was more fitting and pleasurable than the one just past, which included something for just about any and all tastes in a memorable triduum. It offered not only masterful musicianship but a reminder of a day when the arts from Russia overshadowed political chicanery. The first day of the triduum focused on works by three disparate composers, from Glinka's audience-pleasing 1842 Overture to Ruslan and Ludmila to Rachmaninoff's 1901 Piano Concerto #2 to a complete rendering of Stravinsky's 1910 Firebird, all under the direction of Conductor Ken-David Masur and featuring pianist Kirill Gerstein. The Glinka brought back fond memories of the Sarah Caldwell production of the opera (with unforgettable scenic design by Senn and Pond that was composed of black lacquered boxes with paintings of the titular couple) many years ago presented by her long-defunct opera company. The Stravinsky ballet seems almost tame today, but in its day was a shocker. It remains unusual even for contemporary ears, with its use of no fewer than three harps, and at one point an impossibly low note from an instrument (a tuba) that sounded like a wind instrument breaking wind. Both pieces were extraordinarily well performed (and conducted by Masur), but the hit of the the evening (with several well-deserved bows) was the central piece, the Rachmaninoff, where Gerstein's astonishing pianistic precision and energy was matched by the conductor's lively, baton-less and fully engaged leading of what might have been a mere old war horse but seemed fresh and new. It should be noted that this was one in a series of “Underscore Fridays” wherein a member of the orchestra (in this case English horn player Robert Sheena) explained the role an instrument plays in the playing of a particular piece.

The second program of the triduum presented an appropriate Bernstein Songfest. The full title of the piece is Songfest, a cycle of American poems for Six Singers and Orchestra, an ambitious 1977 work by Bernstein consisting of twelve settings of thirteen American poems, performed by six singers in solos, duets, a trio and three sextets. Intended as a tribute to the 1976 Bicentennial, he didn't finish it on time. Its first complete performance was given a year later by the National Symphony Orchestra (conducted by the composer himself) on October 11, 1977, at Washington's Kennedy Center (though by then some portions had been already performed in other venues). On July 4, 1985, Bernstein conducted a nationally televised performance of Songfest as part of the National Symphony's annual holiday concert. The soloists for the current Tanglewood performance were soprano Nadine Sierra, mezzo-soprano Isabel Leonard, mezzo-soprano Kelley O'Connor, tenor Nicholas Phan, baritone Elliot Madore and bass-baritone Eric Owens. The poems included a sextet "To the Poem" (Frank O'Hara), a baritone solo “Pennycandystore Beyond the El" (Lawrence Ferlinghetti), a soprano solo “A Julia de Burgos" (Julia de Burgos), a bass-baritone solo "To What You Said" (Walt Whitman), a duet of "I, Too, Sing America" (Langston Hughes)/"Okay 'Negroes' " (June Jordan), the trio “To My Dear and Loving Husband" (AnneBradstreet), another duet “Storyette H. M.” (Gertrude Stein), another sextet “If you can't eat you got to" (e.e. Cummings). Also in the cycle were another solo "Music I Heard with You" (Conrad Aiken), still another solo "Zizi's Lament" (Gregory Corso) as well as one last solo "What Lips My Lips Have Kissed" (Edna St. Vincent Millay) and a final sextet "Israfel" (Edgar Allan Poe). The work is, in this crtic's estimation, an acquired taste, though the Walt Whitman source is of interest historically given its clearly homosexual content. It was followed by a performance of Sibelus' 1902 Symphony No. 2, which Bernstein conducted at Tanglewood in 1986, just four years before his death. After its deceptively somber beginning, this too is an audience-pleaser, at many points sounding as though the composer was winding down, only to top himself with yet another build-up to a triumphant MGM blockbuster ending. It was exceedingly well conducted and performed.

Joshua Bell & Dima Slobodeniouk at Tanglewood
(photo: Hilary Scott)
The third day of the triduum consisted of three works, under Conductor Dima Slobodeniouk, including Borodin's Polovtsian Dances from the opera Prince Igor (completed in 1890 three years after his death, by Rimsky-Korsakov and Glazunov), Henryk Wieniawski's 1862Violin Concerto No.2 with violinist Joshua Bell, and Prokofiev's 1945 Symphony No.5. The piece by Borodin (whose day job was as a chemist) was a fine way to start off a summer's afternoon, with its intended resonance for theater buffs to the later score of the Broadway musical Kismet (with no fewer than three hit songs, “Stranger in Paradise”, “Not Since Nineveh”, and “This Is My Beloved”). The violin concerto, the Polish composer Wieniawski's best known work, is a soloist's dream tour de force. Written in 1870 when he was only thirty-five at the close of his tenure as Court Violinist in St. Petersburg, and selflessly dedicated to his contemporary in Spain, Sarasate, is an astonishing improvement on his first and lesser-known concerto. Rather than showy pyrotechnics, the expressive entrance of the violinist is marked dolce ma sotto voce, though it is more than a merely splendid melodic solo entrance, followed by impressive rhythms that eventually lead into a finale sometimes appears on concert programing as a separate, stand-alone piece, “gypsy style”, considered, as the program notes, a minor masterpiece of romantic literature. It's right up Bell's alley, and he didn't disappoint, and that goes for his brief encore from John Corigliano's score for the film Red Violin, which Bell noted he had performed in the shed twenty years prior. Bell still plays with literally full-bodied gusto. The orchestra's final offering of the program, Prokofiev's Symphony No.5, a work that has much to convey in a relatively brief forty-five minutes or so. Written in 1944, this Ukrainian's best-known symphonic composition is in four somewhat unified movements, the first with some unexpected melodic turns that are frequently recognizable as Prokofiev. Its main theme is expressed right away, first with flutes and bassoons, then with the strings, subsequently with flute and oboe to develop its second theme. There follows a scherzo with clarinet and violins. An adagio provides a dramatic middle section, with the finale echoing the first movement leading to a cheerful and energetic end. And it is noteworthy that the score was hand-written on paper from a store on Boylston Street in Boston; the original currently resides in the main branch of the Boston Public Library.

The Bernstein recognition will continue for the balance of the summer, ending with what promises to be a truly spectacular Bernstein Centennial Celebration at Tanglewood with a host of conductors from Nelsons to Eschenbach to Lockheart to Tilson Thomas and Williams, all with historical ties to the BSO and Tanglewood. The performers will include Audra McDonald, Midori, Yo-Yo Ma, cellist Kian Soltani, Nadine Sierra, Susan Graham, Isabel Leonard, Thomas Hampson, Jessica Vosk and Tony Yazbeck, with the Tanglewood Festival Chorus. As previously queried: what greater tribute could one ask for in this Year of Lennie?


Goodspeed's "Oliver!": Feud, Glorious Feud!

Gavin Swartz (The Artful Dodger) & Elijah Rayman (Oliver) in "Oliver!"
(photo: Diane Sobolewski)

The stage musical version of Charles Dickens' Oliver Twist is infrequently produced these days, in large part because of the challenge of casting young actors. After all, the well-known story from Dickens' original novel features two different British social worlds engaged in feuding against one another for the life and soul of the titular orphan and involves a good number of workhouse young boys with two lead roles that are essential to the tale. When the London stage production debuted in 1960 in London, and two years later on Broadway, then in an Oscar-winning filmed version, the success of all these versions depended heavily on the charisma of the actors portraying the characters of Oliver and the Artful Dodger. Goodspeed Musicals in East Haddam, Connecticut has miraculously managed to discover two gems, namely Elijah Rayman (Oliver) and Gavin Swartz (the Artful Dodger), who together provide the foundation for a production that can only be described as virtually flawless, it surely deserves the exclamatory title, Oliver!.

Gavin Swartz (The Artful Dodger) & EJ Zimmerman (Nancy) & Cast in "Oliver!"
(photo: Diane Sobolewski)

As crucial as these two actors are, any version of this musical further requires versatile singing, dancing and acting performers in the roles of the conniving yet captivating “receiver” Fagin (Donald Corren), the heartbreaking Nancy (EJ Zimmerman) who can belt the show's best rousing songs as well as a thrilling torch song or two, the inherently and unredeemably evil Bill Sikes (Brandon Andrus), and the hilariously hypocritical workhouse owners, the Bumbles (Richard R. Henry and Joy Hermalyn). They are, individually as well as collectively, about as professionally perfect as one could hope for, and that includes the entire ensemble. Rarely has one encountered such a capable Oliver as Rayman (often played by actors outside their range) or a more mesmerizing Artful Dodger as Swartz (arguably the show's best-written and here best-performed role). One can only marvel at how the company found all these pros. But wait, there's more.

Elijah Rayman (Oliver) & Richard Henry (Mr. Bumble) in "Oliver!"
(photo: Diane Sobolewski)

That professional level goes for the creative team as well, especially with regard to the work of Director Rob Ruggiero (in his eleventh season with Goodspeed), who so impressed in the past with such productions as Rags, Fiddler on the Roof, La Cage aux Folles and The Most Happy Fella; there simply is no one on the planet so imaginative and focused as a musical stage helmer. Along with the stupendous Scenic Design by Michael Schweikardt and wondrous Costume Design by Alejo Vietti, terrific Lighting Design by John Lasiter and effective Sound Design by Jay Hilton, there is the marvelous Musical Direction by Michael O'Flaherty, fluid Choreography by James Gray and, at the core of the work, the triple threat contribution by the musical's creator Lionel Bart, who wrote the Book, Music and Lyrics (a feat perhaps only Frank Loessor or Meredith Wilson could so perfectly match). Not only was Bart true to Dickensian themes, his work was respected by Ruggiero with this tight rendition, with a helpful mimed visual to start the show, and the sight of a determined Fagin to end it, as opposed to the medley of reprised songs usually provided.

Donald Corren as Fagin in "Oliver!'
(photo: Diane Sobolewski)

And oh, that score!  From the show's opener, Food, Glorious Food (with this production's sole flaw, the need for better ensemble diction) to Oliver's poignant plea Where Is Love? to Dodger's show-stopping Consider Yourself, to Nancy's As Long As He Needs Me and Oom-Pah-Pah, and Fagin's “eleven o'clock number”, Reviewing the Situation, it's chock full of unforgettable musical pieces. The score's sources range from the traditional British music hall to complex counterpoint sung a cappella, every song character-driven. Even Nancy's fate (with its abusive aspects) is here tempered by her strength and redeeming choices in the end.

As is equally true in Dickens' seminal source, everything about a successful Oliver! demonstrates precisely how character-driven this work is at every level. Storytelling in theater simply doesn't get any better than this. Period. Full stop. And do by all means make a full stop at Goodspeed Musicals (already extended through September 13th) for this quintessential example of musical theater at its best, and, in the tradition of past exclamation-pointed shows (think Oklahoma!, Hello, Dolly! and the like) it's totally Broadway-ready.


Glimmerglass at Cooperstown: Home Runs

Alice Busch Opera House
(photo: Glimmerglass Festival)

The contrast between the comic opera The Barber of Seville and the sobering opera Silent Night, both presented this past weekend as part of this year's season of the Glimmerglass Opera Festival, could not have been more pronounced. Yet it was a stunning demonstration of how each of these profoundly disparate operas may serve as a reminder of how the medium of opera can inspire in so many different ways, especially in the hands of brilliant directors. Though Cooperstown may perhaps be more famous for its Baseball Hall of Fame one could argue that it is equally renowned, at least among music lovers, for its annual Opera festival, since its founding in 1975. This year is no exception.

The Cast of "The Barber of Seville"
(photo: Karli Cadel)

In the more familiar work, with its lively music by Gioachino Rossini and hysterical libretto by Cesare Sterbini, this version of Barber was imagination on speed, a virtually flawless romp with a plethora of truly funny comic touches, a non-stop cornucopia of visual treats. The direction, by the company's Artistic and General Director Francesca Zambello, was nothing less than astounding. If you think you've seen every possible production of this war horse, think again. It's rare that a much beloved work receives such a unified and original approach. This is reflected by the Costume Designer Lynly Saunders, Lighting Designer Robert Wierzel, Choreography by Olivia Barbieri, and perhaps especially Scenic Designer John Conklin (who gives a whole new depth to the term “two-dimension” (not to be revealed here). But the old saying correctly admonishes that you can't hum the scenery; it remained for the orchestra (under the magical touch of Conductor Joseph Colaneri) and cast to solidify all the stage business with musical and vocal precision. For all its apparent simplicity and ease, this is a challenging piece to perform, and the musicians both in the pit and on the stage didn't fail to deliver.

Joshua Hopkins as Figaro in "The Barber of Seville"
(photo: Glimmerglass Opera)
The story is well-known enough to dispense with a synopsis, other than to note that it all revolves around the character of Rosina (here superbly played and sung by Emily D'Angelo), the almost universal object of affection of virtually everyone on stage, who is the ward of Dr. Bartolo (a true gem both in his acting and singing, Dale Travis). Count Almaviva (the wonderful David Walton), aided by Figaro (the hysterically comic Joshua Hopkins), is another suitor. The rest of the cast include Rosina's music teacher Basilio (the able Timothy Bruno), the maid Berta (Alexandria Shiner, with a lovely voice even in this relatively minor role), and the characters of Fiorello (Ben Schaefer), an Officer (Maxwell Levy) and Figaro's Assistant (Rock Lasky). And there's not a clinker in the bunch. One almost-spoiler: keep a lookout for how one character (the maid Berta) gives a clever new meaning to the term “disappearing into the scenery”.

The Cast of "Silent Night"
(photo: Glimmerglass Opera)

There's no likelihood of anyone's disappearing into the scenery in the company's compelling production of Silent Night. The stark yet versatile style visually captures one's attention from the first moments of this startling contemporary work, complemented by yet another example of an ingenious director (Tomer Zvulun). Based on a film by the same name, the operatic version was first performed in 2011. Its Composer Kevin Puts won the Pulitzer Prize for this, his debut opera; the Libretto by Mark Campbell (who impressed last season in Boston Lyric Opera's production of his Mr. Burke and Mr. Hare) is his third Pulitzer. It's easy to hear why, especially as led by Conductor Nicole Paiement. The music is lovely, melodic, and complex, and the story is enthralling.

There are three stories, actually, taking place on a World War I Belgian battlefield on Christmas morning (in 1914): two famed German opera stars, also lovers (Arnold Livingston Geis as Sprink and Mary Evelyn Hangley as Anna), first separated, reunite for a command performance at a German officer's chalet nearby; the two Scottish Dale brothers, Jonathan (Christian Sanders) and William (Maxwell Levy), and their local parish priest (Wm. Clay Thompson), all enlist; and French Lieutenant Audebert (Michael Miller) also enlists though his wife is pregnant, and is given coffee by his aide-de-camp Ponchel (Conor McDonald). There ensues a brief truce, first as a respite for the holiday, then extended in order to bury the dead. Peace reigns ever so briefly, inevitably, as war must be resumed.

The Cast of "Silent Night"
(photo: Glimmerglass Opera)

Or must it? Consider Audebert's aria “j'ai perdu ta photo”:
I lost your photo...
I don't need a photo
To see you.
I close my eyes
And you are there...
I will finish this tomorrow.

Or, equally poignant, consider Anna's aria “Irgendwo, irgendwann”:
And then in your grave.
Our story will end
Like all the others.
Unless we do something about it.
We must do something about it.
I will find a way.

This version is blessed with a cast of astonishingly terrific singer/actors, especially those singled out by name above, and a creative team that has captured war in its most heartrending aspects, with lovers who are divided, brothers who are separated in the extreme sense, and an absurd death of a unfortunate soldier in the wrong place in the wrong time in the wrong uniform. A word about those uniforms: though they are historically accurate, Costume Designer Victoria Tzykun has noted that she designs not costumes but characters. The scenery by Erhard Rom is an inspired choice to illustrate the triple nature of the conflict, and the Lighting Design by Robert Wierzel echoes this approach.

In the end, with obvious resonance for the irrational times we live in, there are no winners, only losers, except one; war is the sole winner.