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Search resuls for: "Harold Pinter’s"


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“The idea of the hysterical woman trope really does persist today,” the soprano said ahead of Thursday night’s premiere of Rene Orth’s musical adaptation at Opera Philadelphia. An all-woman creative team was commissioned to develop the work by Opera Philadelphia and Toronto’s Tapestry Opera. “I have a lot to say about women’s rights being taken away and how women are treated,” director Joanna Settle explained. Bryce-Davis views Roosevelt Island quite differently following her immersion in the traumatic story. “My sister lives on Roosevelt Island and so whenever I’m in New York, that’s where I am,” she said.
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But casting for a colorblind utopia can be a problem when your aim is to depict racial injustice. Nontraditional casting is of particular value where there’s a tradition to be bucked; familiar works or historical episodes can be experienced in fresh ways. In high school, I was cast as the menacing Goldberg in Harold Pinter’s 1957 play, “The Birthday Party.” (“Mazel tov! There’s a useful analogy, speaking of Goldberg variations, in the “historically informed performance” movement in music. But who would limit themselves to “authentic” performances of Bach’s “Goldberg” Variations — and thus miss the marimba player Pius Cheung’s rendition?
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