Word: sloss
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...exhibit has more magic and youth in Mark Cohen's headless "Horseriders," a peculiar composition that frames coats and gloves of the riders while leaving out their faces. And with Dorothea Lange's young, white-frocked "Katherine Sloss," reading with open mouth and all ten fingers, childhood's imagination and curiosity are evoked...
...David Sloss does a beautiful job of keeping his twenty-three fine musicians together through the tricky orchestrations. Now all he has to do is keep them quiet, for they are much too loud, and although few lyrics get lost, the noise gets painful. Mutes on the brass and a lighter hand on the tympani might help. J.D. McLaughlin's set leaves a maximum amount of clear space for cavorting on the small Agassiz stage. The show is brightly lit, as comedy should be, and the costumes are clashingly colorful and good...
Directors David Sloss (the music) and George Hamlin (the staging) have adopted this problem child and provided a musically competent, visually disastrous production unhappily married. The suburban couple (Richard Lee and Miriam Boyer) have adequate voices, but are sorely tried by Bernstein's libretto. Only Danny Kaye could enunciate some of the convoluted lines without dragging the tempos. Those scenes, which like Leete's locker-room soliloquy were more musical comedy than opera, were the most successful...
...Mayer must get much of the credit. David Sloss did a superb job with the music, true, and Lewis H. Smith's costumes went a long way toward making the show the confident spectacle it was. But Mayer is the one who put it together and made it work. When he had talent to use, he used it. When he didn't, well, he got something out of the actor anyway. He knows what theatre is about. You could give him a flashlight and two deaf mutes and he'd make money with them...
...Sloss and the directors plan to reblock several scenes to fit into WGBH's limited studio area before taping the opera...