Boy oh boy, the second act brought the PHILIP GLASS!
Posted by: Jim Withington
Everything that was “hmm…is that all?” during the first act completely came together in the second, like an entirely different show. Fantastic stuff, that.
There was drama, and loss, and tragedy, and a whole lot of weird (or was it simply French?) “Orpheus is in love with death but also his wife? Wait, what?” stuff. There were recurring musical themes,finally showing that minimalist goodness I signed up for. There were great descending notes when they descended into death; amazing silence when silence was what we needed.
I know that a big part of theatre is totally bringing it in the second act, but, really, the first act feels like an afterthought in comparison.
And oh, the formality. The curtain call could not have been more elaborate (and more unlike, say, The Crumb Trail) . And the audience shows you how they really feel: in this case, judging by applause, we all agreed that Lisa Saffer, the gorgeous Princess, won our hearts.
It’s interesting to consider this in the context of all the other performances I covered for PICA. It’s certainly the most “mainstream,” and yet judging by the crowd murmurs, this show was CRAZY for an opera. I love that. Context is everything, and even in this most formal of theatrical realms, there’s room for a little crazy performance arty goodness.
Boy oh boy. I have a cast party to possibly attend, and certainly another entry about this show coming up, perhaps tomorrow, because really, this liveblogging thing doesn’t really allow for much more but quick thinking. Was this show as much of the Glass that I expected? No way–in that it’s not as crazy as his early instrumental-music-only works. Is it worth attending? Absolutely.