Sweet Bird of Youth closes out an undeniably successful decade for Tennessee Williams, on stage and screen, and bisects his body of work, with his mature hits on one side and his experimental, often lambasted later plays on the other.
In I Can’t Imagine Tomorrow, we’re contending with Kim Stanley and the last gasp of the Method.
While Farinelli and the King isn’t the only Broadway play to have explored castration (Sweet Bird of Youth, anyone?) it’s likely the first to concern a legendary 18th century opera star.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.