Word: lyricizing
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Joel DeMott directed and designed the show. She did an excellent job with the blocking and set, thereby proving once again that the Ex need not be used solely for Beckett. But Miss DeMott (following Strindberg) failed to decide whether the play was to be treated as camp or lyric poetry, and in the confusion she staged something that was often silly...
...periodically unfortunate intonation of the orchestra, occasional four-squareness, and general loss of intensity and concentration toward the end were somewhat disappointing. None of these faults, however, was outstanding enough to weaken the overall effect of the performance. This was a young Requiem-powerful, muscular, intelligent, lyric. In marble St. Paul's the result was overwhelming. Those who did not hear this particular Requiem are not likely to hear its kind in the near future, even on the best of stereo systems...
...Bing was so very wrong. There are two fundamental ways of approaching The Magic Flute: either as a symbolic, deeply philosophical work, as Oskar Kokoschka attempted (unsuccessfully) in his stolidly realistic sets for the Lyric Opera of Chicago in November; or as straight fairy tale, as Beni Montresor tried (successfully) in his lavish scenery for the New York City Opera in October. Chagall strove to incorporate both approaches and achieved neither. He viewed the opera in terms of color, reiterating that the total effect of the scenery should be "like a bouquet of flowers." When the opera finally opened last...
Schmidt is also the grand architect of Illuminations. He presents his work on three screens and through an obscenely powerful amplifier system. I could not make sense out of all I saw and heard during Illuminations, but from those quite lyric snatches I did find coherent I would guess there is a good deal of sense to be made. Fortunately, the mitotic circle of white light and the ponderous voices puree the mind so quickly that it is only after the house lights come on that you realize that you have not understood...
...tails, ready for a twirl. Love is the only problem she knows, and that is a somewhat half-witted affair, its contretemps based on misunderstandings that a TV-trained three-year-old could settle in seconds. The battle of the sexes is either mock or bittersweet; one lyric says it all: "We should be like a couple of hot tomatoes/But you're as cold as yesterday's mashed potatoes." All this is sexy only by insinuendo-and thus stimulates the imagination more than crasser treatment...