Word: act
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Dates: during 1990-1999
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...first number of Act II, "Prayin' Alive," led by Hal Elujah (Eric Ambald), the evangelic disco-loving preacher, decked out in a stained-glass-window-printed suit and sequined cross and papal collar, is one of the show's most electric moments. It demonstrates the skill not only of Kaplan and Lau but also of the terrific and fiery Ambald, supported by the entire chorus...
Unfortunately, the couple sitting in front of me missed the Gloria Gainer tribute because they took their young children home after Act I, due, as I overheard, to the show's "inappropriateness." And it is a good thing they did because Act II wasn't getting any cleaner. In "Tea for Three," for example, the third song in Act II and one of the best examples of the show's lewdness, Stella sings these lines while bending over between two members of the cast (pun intended): "I am in a boil and I am ready to steam/Just drop...
...line out of someone's mouth concerned genitalia and/or having sexual intercourse. The majority of the lines of Newt Erd (Bryan Leach), for example, the castrated detective bull-dog, revolve around his conspicuous lack of testicles. Typical of his blunt retorts, Newt responds to one of the characters in Act II, "Actually, I have no sack." But that was clear by the bandage sewn onto his costume (and his lines throughout Act...
...expected, it was shownthat certain voices were more fully comprehendiblethan others. Unfortunately, the lead roles ofButterfly (Paula Delligatti) and Pinkerton (LuisLima) were more adept at singing passages drivenby emotive tendencies than they were at filling inall those passages of recitative (sung speech ordialogue). Recitative was a significant portion ofthe Act I where the single action of Pinkerton andButterfly's marriage span the duration ofapproximately one hour...
...enjoyable experience. Theset was exquisite, not overly modern oravant-garde, and accentuated with beautifulOriental designs illuminated on a backdrop oftextured, creamcolored lantern paper. The star ofthe show was invaribly Sharpless (Lucio Gallo),who stole the stage every time he was on it. ButDelligatti's convincing metamorphosis of Butterflyin Act II has to be equally lauded. It was such apleasure to see this opera emphasize Butterfly'scharacter rather than attempt toprovide arationalization for the character flaws of bothPinkerton and Butterfly and inevitably, makingMadame Butterfly a far less compellingstory of human nature