Katrina Lenk’s Bobbie dutifully channels an assertive, contemporary, sexually confident female persona, but it doesn’t feel fully realized or convincing.
I can safely say that this is the gay drama I’ve been waiting for: a genuinely devastating drama that doesn’t treat its characters like lambs waiting for the slaughter or overdose on weepiness, and a queer narrative that unapologetically centers the queer perspective.
It’s not difficult to make an audience weep uncontrollably. But because it’s so easy, I think artists have a responsibility to not overuse that power.
This a sincere revival with a social conscience, a chance to take immersive part in the Christmas miracle, not just watch it remotely.
It’s surprising to read that, as of this writing, La fanciulla del west has only had 105 performances at the Metropolitan Opera.
Between staging, music, and material, it’s hard to decide what feels most broken about New York City Opera’s American premiere of Brokeback Mountain.
Angels in America reimagined as an actual, full-blown opera.
Mortality is ugly—it smells, it makes uncomfortable noises, it takes its time; and then there is the overwhelming sense of dread and helplessness.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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