A ambitious opera company takes a chance on a contemporary show with a theme that's (gasp) relevant to our own time - and this is what they get:
Review: Some stand and cheer, some leave 'Gantry' premiere
From that headline, you're thinking controversy, possible disaster, right? What you learn instead is this:
"Some of the audience at Friday's Florentine Opera presentation of Robert Aldridge and Herschel Garfein's 'Elmer Gantry' devoured it, standing and cheering at final curtain while a smaller number applauded from their seats and a few left at intermission - all of which are healthy, honest responses to any new piece of art."
I've been to an opera or two. A few people always leave at intermission, some undoubtedly for reasons unrelated to the show at hand. And it seems like if most of the rest of the people are standing and cheering after the final note, what you have is called a "success." From there the reviewer goes on to get out the jeweler's eye and examine this element and that element of the production - the sets, the costumes, the singing, the "overabundance of uninspired group clapping" - while predictably bailing on the central question of all opera: Did it move the audience? Did it bring the tingle? Did it fucking work?
Well, I'm going to see Elmer Gantry today. I'll let you know.
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