Los Angeles Opera’s inventive Figaro Trilogy continued last Saturday night with the opening of Gioachino Rossini’s The Barber of Seville in a revival of the production from the Teatro Real Madrid, first seen in Los Angeles in 2009. Emilio Sagi’s production, directed by Trevore Ross, was utterly charming. The scenic designs by Llorenç Corbella and
Squabbalogic’s reimagining of Dale Wasserman’s fusty old musical, Man of La Mancha (music by Mitch Leigh, lyrics by Joe Darion), is breathtaking in its across-the-board creativity and astonishing collaboration of pure talent both on and back stage. From its mild updating of the language, to the highly imaginative staging, to the elegant simplicity of its
Dear readers and #LAThtr aficionadi,
Here follows my latest review for the critical website Stage Raw — which contains current arts and theater coverage from our intrepid team of journalists & critics.
The Night Alive.
Conor McPherson’s play The Night Alive feels like a study in randomness. The action, such that there is,
There has always been speculation swirling around the relationship Charles Dodgson had with his young muse, Alice Liddell. During the mid 1800s, Dodgson was a mathematics tutor at Christ Church college in England. He was also an Anglican deacon, a keen photographer and writer. He gained acclaim for two children’s books, Alice’s Adventures in Wonderland,
Handsomely mounted on a massive scale and featuring scores of talented cast members, the LA Opera has delivered what is possibly the definitive staging of William M. Hoffman (librettist) and composer John Corigliano’s ‘grand opera buffa’ The Ghosts of Versailles. This lavish production marks the West Coast premier of a work that was commissioned by