#1
Posted: 11/16/12 at 7:59am
This new play had its first preview last night at MTC.
It is clear that McNally loves opera. So do many. But in this case neither love, valor, nor compassion is enough. If you're going to write about it, if you have nothing new, bright, or interesting to bring to the table, then table it.
The play deals with the Paris premiere of Bellini's I Puritani. The action takes place backstage while the performance is going on. The first act is tepid but tolerable. The second is just irritating in its dullness, which goes on forever. It's one of those plays that doesn't know how, where, or when to end, and so it just doesn't. It's like one of those interminable death scenes in opera, but without any beautiful music.
As a sample of the humor and spirit of the piece the author has Bellini playing snatches of Andrew Lloyd Webber, Wagner, and Puccini at the piano.
There seemed to me some miscasting here. Overall, the performance is not outsized or flamboyant enough for the subject. Perhaps that will come later.
F. Murray Abraham makes a cameo appearance as Rossini in one scene near the end to no dramatic purpose but to make the play go on even longer. It runs a whopping 2:45. After which I felt like I needed a bellini. Or several.
It is clear that McNally loves opera. So do many. But in this case neither love, valor, nor compassion is enough. If you're going to write about it, if you have nothing new, bright, or interesting to bring to the table, then table it.
The play deals with the Paris premiere of Bellini's I Puritani. The action takes place backstage while the performance is going on. The first act is tepid but tolerable. The second is just irritating in its dullness, which goes on forever. It's one of those plays that doesn't know how, where, or when to end, and so it just doesn't. It's like one of those interminable death scenes in opera, but without any beautiful music.
As a sample of the humor and spirit of the piece the author has Bellini playing snatches of Andrew Lloyd Webber, Wagner, and Puccini at the piano.
There seemed to me some miscasting here. Overall, the performance is not outsized or flamboyant enough for the subject. Perhaps that will come later.
F. Murray Abraham makes a cameo appearance as Rossini in one scene near the end to no dramatic purpose but to make the play go on even longer. It runs a whopping 2:45. After which I felt like I needed a bellini. Or several.
Updated On: 11/16/12 at 07:59 AM
