Cher Public

Neither pure nor wise nor good

What better way to mark the passing of the monumental Hal Prince than with a recollection of that nexus at which his and Leonard Bernstein‘s worst work intersected? Read more »

Lenny thing goes

They saved the best (of all possible worlds) for last. Read more »

Bernstein’s Mess

In lieu of a parterre box review of Mostly Mozart’s Mass (none of the our bullpen showed any interest in taking the piece on), here’s what Zachary Woolfe has to say: “I think that if it’s not [Bernstein’s] worst, it surely reflects his worst tendencies: his allergy to self-editing, his saccharine streak, his embarrassing wordplay, his obsession with (and tone-deafness toward) youth culture, his weak counterfeits of pop styles.” [New York Times]

The kiss we never dared we’ll dare in dreaming

If you’ve ever wondered what the Lost Boys’ abode might look like lined with mermaids, shopping carts, and unpeeled potatoes, look no further than Christopher Alden’s new production of Peter Pan.

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O sink hernieder, Nacht der Lenny

Well here we are, beloveds, still swathed in the warm glow of the Leonard Bernstein centennial. Box sets abound like bunnies in a hutch.

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Mais nous voyons à nouveau La Carmencita

The opening night of the Metropolitan Opera of September 1972 was supposed to be the dawn of a new era.

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The little things you do separately

“Though Bernstein’s own marriage had its complexities (he was bisexual)…” [Philadelphia Inquirer] 

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Season of the Woolfe

“Thirty years after the action of Tahiti the young son, Junior, is now gay and possibly schizophrenic; his former lover is married to his younger sister, Dede. During his mother’s funeral Junior starts a striptease in front of his father, knocking into the coffin in the process…. This was neither the sound nor the subject matter that audience members at the 1983 premiere at the Houston Grand Opera were expecting.”  The arrival of A Quiet Place at New York City Opera also provides a debut for Zachary Woolfe in the New York Times.

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