Lara De Bruijn

Owen Wingrave

May 15, 2019

Witnessing the LOTNY production makes one wonder why "Owen Wingrave" is not performed more often: it has a small cast of eight with juicy roles for all of the characters, evenly divided between men and women’s roles, not true of either of the composer's operas, "Peter Grimes" or "Billy Budd." Although it makes use of the twelve tone scale, its dissonances are not hard on the ear. The plot is simple to follow and it can be performed in a unit set as was demonstrated by Josh Smith’s attractive and flexible design with six playing areas at the GK Arts Center. With the use of video or slide projections and atmospheric lighting, one can make the production as spooky as one wishes for this late Victorian ghost story. [more]

Salome

October 15, 2018

This M-34 production, under Rutherford’s direction, doesn’t rise to stratospheric heights. Quite the opposite: Rutherford’s direction and writing turns Salome into a fascinating domestic comedy/drama, an interesting interpretation, even a witty interpretation, but one that avoids piercing the audience’s minds. He keeps the actors watchable with an in-your-face directing style. Earnest and energetic as it is, he never squeezes fresh revelations from the text. [more]

Devil of Choice

May 30, 2018

Director Shira-Lee Shalit provides breakneck pacing, swift scene transitions and compelling stage compositions that include the presence of the violinist. The visual and the verbal are in enthralling unison as Ms. Shalit achieves momentum, raucousness and sensitivity with her vigorous staging. A fully clothed sex scene is powerfully erotic as it visualizes the dynamics of the charatcers. Shalit masterfully guides the cast’s volcanic performances. [more]

Party Face

January 31, 2018

The best reason to see Isobel Mahon’s "Party Face" is to see the ever-lovely Hayley Mills who used to play mischievous teens and now is playing busy-body mothers. The play is diverting though it has nothing new to say about women and their contemporary roles. Under Amanda Bearse’s direction, the play also gives Klea Blackhurst another off-beat comic role in which she shines. [more]

Slow Dusk & Markheim

December 11, 2014

Two one-act operas by Carlisle Floyd are being presented by The Little Opera Theater of NY, newly arranged for chamber orchestra. One is a very early work, the other is mature, and for those who are interested in the material this is a worthwhile presentation of music you're unlikely to encounter elsewhere anytime soon. [more]