James Jorden
First things first: working from the limited evidence of half or less than half of Frank Castorf’s production of the Ring, I don’t see any evidence of contempt for the audience or whatever you want to call it.
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There are some productions that “introduce” themselves quite clearly early on: for example, the Patrice Chereau Ring puts it cards on the table very frankly with the image of the hydroelectric dam populated by grisette Rhinedaughters.
A last minute scheduling conflict at the New York Post (curse you, Tony season!) meant that my planned review of Aufstieg und Fall der Stadt Mahagonny at Manhattan School of Music had to be 86ed.