Wednesday, September 12, 2007
A revolutionary 'Figaro'? Almost.
The Boston Globe: "Last week saw the opening there of the Minneapolis-based Theatre de la Jeune Lune's radical rearranging of Mozart and Molière, 'Don Juan Giovanni,' and now it's joined by its companion piece, 'Figaro.' This time around, Dominique Serrand and Steven Epp's mash-up pairs Mozart with Beaumarchais, setting 'The Marriage of Figaro' as a kind of flashback from a grim, post-revolutionary Paris that's (very) freely adapted from 'The Guilty Mother,' the final and least familiar play in the Figaro trilogy."
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In a way, I find it disrespectful to distort a dead man's work of art in such a fashion. Perhaps I am misunderstanding how the company produced the show. Is it an opera still using all (or most) of the original songs? Or did they pull a "Rent" adaptation? If they did make an entirely new show, then the ideas I read about would be a bit more acceptable. Otherwise, the complete rearrangement of an opera's emotional infrastructure is nothing more than a folly meant to be forgotten.
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