Mother lode
Charles Busch‘s The Confession of Lily Dare bundles up a long weekend’s worth of TCM “pre-code fallen woman” tropes into a neatly hilarious 90 minute package.
By
La Cieca
The new play by the ineffable Charles Busch, entitled The Confession of Lily Dare, bundles up a long weekend’s worth of TCM “pre-code fallen woman” tropes into a neatly hilarious 90 minute package. Not only that, a prominent subplot focuses on that archetype of High Culture and Class in the 1930s, Grand Opera.
Without being all spoilery, I can say that one character’s arc in this piece includes dazzling stardom as an operatic diva, climaxing (as so often happens in the movies) with a triumph at the San Francisco Opera in the title role of La traviata. And there’s an earthquake too!
Tickets for the limited run are scarce, but it’s more than worth standing in the return line at Theater For The New City. Even if you don’t get to see the show, you should at least volunteer to draw Busch’s carriage through the streets of the East Village.
Photo: Michael Wakefield
La Cieca
James Jorden (who wrote under the names "La Cieca" and "Our Own JJ") was the founder and editor of parterre box. During his 20 year career as an opera critic he wrote for the New York Times, Opera, Gay City News, Opera Now, Musical America and the New York Post. He also raised his voice in punditry on National Public Radio. From time to time he directed opera, including three unsuccessful productions of Don Giovanni. He also contributed a regular column on opera for the New York Observer. James died in October 2023.
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Topics: charles busch, class, grand opera, high culture
