Stage director Jeremy Bloom seems to have encouraged a certain archness in their acting. What makes the old medieval morality plays so engrossing, and so touching, is the complete innocence or simplicity of the main characters. But if the performers are constantly winking at the audience (and we're not even sure what they're winking about), they risk losing us. They certainly lost me.

Julia Noulin-Mérat's set is one of the most attractive Guerilla Opera has come up with. The floor and side walls are covered with wooden panels. The back wall has a wide opening through which you can see the orchestra. On the stage is a set of wooden crates, which the characters keep moving around to create steps or paths or pedestals. The problem is that, like the notes themselves, the movement is too busy. Too many unmotivated reconfigurations of the set are as distracting and hard to follow as too many notes.

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Related: BLO does Britten's Midsummer Night's Dream, Helios Early Opera's Charpentier; plus, the BSO's Mendelssohn Lobgesang, Moving out, More more >
  Topics: Classical , Music, Boston Conservatory, classical,  More more >
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