Of that showcase, The NY Times said the following: “The fact that our focus is repeatedly splintered obviates much chance for emotional concentration and, consequently, the possibilities to be truly moved.” The review goes on to note two moments of crucial dramatic pull that were undercut by the inability to discern where he needed to place his focus. And while it proved an interesting concept that allowed audiences to come closer to the action, it also proved distancing and confusing from a visual perspective. The main attraction of that show was that it featured massive screens that amplified the action taking place on the stage. But before that happened, audiences were given a chance to witness it. Where to Look? The Distancing Effect of Too Many ScreensĪ few years back, Broadway put up a short-lived production of “West Side Story” by Ivo van Hove that was promptly shut down by COVID-19. Safe to say those who were scared were right-Stone’s production was nothing less than a disaster. Leading up to the premiere the production had garnered mixed reception on social media and the New York Times even predicted boos. It was always going to be a challenge due to the updating of the work from 17th century Scotland to a present-day town in the Rust Belt.
Zimmerman’s take had some flaws but overall was traditional in many aspects and created a vehicle for its sopranos to interpret and rework the blocking to make it suitable to their needs.įifteen years later the Met decided to bring Simon Stone, a transgressive theater and film director who had already directed operas in Europe, to helm the masterwork. In 2007, the company brought a production by Mary Zimmerman which set the piece in Victorian times and created a ghost story out of the work. This marked the second production of Donizetti’s masterpiece during General Manager Peter Gelb’s term. On April 23, the Metropolitan Opera opened a new production of “Lucia di Lammermoor.”
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