Cher Public

Unfair ‘Lady’

Mainly plain.

In Pygmalion, and, by extension, in My Fair Lady, George Bernard Shaw packed a multitude of important social issues—class, privilege, feminism, morality and gender roles among them—into a light comedy. Sadly, a revival of the 1956 musical at Lincoln Center makes a muddle of the show’s thoughtful elements and isn’t particularly funny either.  Read more »

Hello, Bart!

“Insanity is doing the same thing over and over again and expecting different results.” (Rita Mae Brown, best known under her nom de plume “Albert Einstein“)

Like breathing out and breathing in

“Critiques of My Fair Lady have focused not only on the show’s final exchange, but on the Pygmalion narrative itself: a man transforming a woman to meet his standards. Not to mention Henry’s bullying tone with Eliza, and her return to him at the end of the show.” Has anyone who assigned, wrote, edited or published this piece ever seen My Fair Lady? Have any of them even read Pygmalion?

Drunk history

Last night was my fourth or fifth wade into the slough of Bartlett Sher’s production of Offenbach’s Les Contes d’Hoffmann at the Met since its premiere in 2009.

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The chopping block?

After five flops in a row, Mr. McVicar continues to win new assignments from the Met.

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Sher on this shining night

Bartlett Sher’s “new to Chicago” production of Romeo et Juliette came to the Lyric Opera at Monday’s opening after appearances at Salzburg and Milan.

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A whiter shade of pale

While the celebrity-studded, expensively-dressed audience gathered for the gala opening of the Metropolitan Opera’s 2015-2016 season seemed genuinely enthralled by Monday evening’s performance of Otello, it was more likely swept away by the power of Verdi’s genius than by Bartlett Sher’s puzzling, inert new production.

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A wasted time

Vittorio Grigolo in the title role of the Met’s revival of Les Contes d’Hoffman is the opera version of the charming homeless drunk.

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