Word: quilichi
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Dates: during 1990-1999
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...singing was so fluent that I could follow the plot almost continuously. Also, I never really noticed that the actors were singing. The color and expression of various voices were at the forefront of the production, but none of the singing seemed staged. The four leads were particularly strong. Quilichi and D'Amelio occasionally swung a flat, everyday-speech exclamation into their performances, and Buff, in her transsexual role as Otto, single-handedly built the tension of the play, bellowing out against Poppea's betrayal...
...with any quasi-classical performance, it was the spicy touch that gave Poppea class. Quilichi, buttoning his fly as the lights went up on Poppea's bedroom, was a languorous, star-dusty Nero who let his fingers into mouths, let other fingers under his own covers, and let his own fingers snap, comfortably touchy, at any cynic (Seneca, played in dyed gray hair by John Driscoll '99) who would complain. After all the history of this Poppea is finished, it leaves a taste not of triumphant love, but of triumphant decadence...
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