“Welcome to our performance. Our venue is under repair. We apologize for any inconvenience.”
The venue was like Disney World, like a creepy, under-construction version of Disney World. Complete with “friendly” ushers lining your path in, repeated a mildly unsettling monologue over and over to each person, the theatre was topped off with a solid covering of plastic-wrap and scaffolding and ladders about the stage, obscured by black and red banners. It was like something out of the Alan Moore-inspired movie V for Vendetta, and I knew I was in for a show unlike any other.
The venue was like Disney World, like a creepy, under-construction version of Disney World. Complete with “friendly” ushers lining your path in, repeated a mildly unsettling monologue over and over to each person, the theatre was topped off with a solid covering of plastic-wrap and scaffolding and ladders about the stage, obscured by black and red banners. It was like something out of the Alan Moore-inspired movie V for Vendetta, and I knew I was in for a show unlike any other.
The Boston Lyric Opera’s production of The Emperor of Atlantis, at the Calderwood Pavillion on February 02, 2011, was a tribute to both the heroic men who devised it as well as to contemporary triumphs in the world of opera. Utilizing lighting and media, unconventionally unfinished set design, and haphazard costuming to turn a few heads on the runway, the holocaust opera became an entirely new animal to those who may have seen it before, and to those who haven’t, an entirely new animal compared to what they thought it might have been.
Hello Hello! Bravo Bravo!
- Bryan Cardillo, Boston College
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