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Equally frustrating are the scenes spotlighting Rosie, for Schmeiser's electric performance is filled with signs pointing nowhere. Script and actress both provide flashes from time of a fascinating, absolutely believable personality--the imperious kid everyone knuckled under to in childhood, who planned the games and made up an the...
HOPELESSLY TRAPPED by such drivel, the cast nevertheless plugs away with surprising spirit and energy. Less, unfortunately, can be said for other aspects of the production. The band consistently falters on the Carole King score, while the disjointed intrusions of motherly presence via large video monitors (with sequences by Melanie...
But this is opera, after all--as is evident when, just as the Count is about to discover Cherubino in the Countess's boudoir, everyone stops and sings for 40 minutes. Thus numerous small discontinuities seem unimportant and even proper. The English translation by Elizabeth McNary, for example, has moments...
Uskali and Sneath have one thing in common that the four other leads glaringly lack: a bursar's card. Jayne S. West (Mabel) and William R. Monnen (Fredric) are voice students at the Boston Conservatory of Music, and Dennis Crowley (Major-General) and Hope Devenish (Ruth) are grown-up singers...
But when the little boy grows up (as the album title declares), we have to deal with new confidence. Grown-up Jeffreys mindlessly runs through R.O.C.K., his paean to his draft which sounded so heartfelt on last year's Escape Artist; the new version is like hearing 101 strings playing...