Word: rocke
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Dates: during 1990-1999
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...public service, we humbly offer you some of the material Seinfeld is trying out in foreign climes. (Warning: comedy sometimes becomes misplaced in translation.) On Australia: "I love your flag [above]: Britain at night." On his neuroses while scuba diving off the coast of Queensland: "I see a rock, there's a fish, and, yes, I'm still alive." On Australian sport: "You have Australian-rules football here. Of course you do. You're in Australia." To a fan who shrieked out, "Jerry, I love you!": "I love you too. But I think that we should see other people." --Reported...
...production is the brainchild of New York City theatrical designers Ken Billington and Kenneth Foy. Its centerpiece is a 50,000-lb. steel-and-Plexiglas modular stage that resembles those used by touring rock bands. The main playing area is flanked by twin lighting towers and live-action video screens, and three additional upstage screens are used for scenic projections. The entire package can be loaded into six tractor trailers, and a state-of-the-art sound system facilitates performances in large outdoor amphitheaters...
...begin to reach and touch more people, you're going to gradually drop off our priority list.'" So he asked Billington and Foy to create a fully portable stage suitable for special performances aimed at young, TV-oriented viewers unfamiliar with opera. "What does rock 'n' roll do? That was our mandate," Billington explains...
...same logic dictated Gockley's unorthodox choice of director. "They came to me and said, 'Do this opera,' and I said, 'You're crazy! I don't know from opera!'" says Michele Assaf, who choreographs musical comedies and rock videos. But her inexperience turned out to be a blessing. While many directors now treat 19th century opera as an opportunity to stuff unsuspecting audiences full of identity politics (the oppression of Gypsy women under late capitalism, say), Assaf was content to interpret the world's most popular opera as a straightforward tale of love and death. "It's a story...
Though the company billed its new Carmen as the next best thing to a rock concert, the results were closer in style to a rip-roaring Broadway show, an impression strengthened by the use of Bizet's original opera-comique version, in which the dialogue is spoken rather than sung, and a refreshingly colloquial English translation by Sheldon Harnick (Fiddler on the Roof). Updated it was, but dumbed down it wasn't. Assaf made her dramatic points with crisp simplicity and no pandering whatsoever. No less direct was the Carmen of mezzo-soprano Suzanna Guzman, a fire-eating singing actress...