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| PRODUCTION |
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| The Rake's Progress |
| Conductor - Donald Runnicles |
| Video Designer - Boris Firquet* |
| Set designer - Carl Fillion* |
| Costume Designer - Fran�ois Barbeau* |
| Lighting Designer - Etienne Boucher* |
| Director - Robert Lepage* |
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| Co-production with Th��tre Royal de la Monnaie (Brussels), Op�ra de Lyon, Royal Opera, Covent Garden, Teatro Real Madrid |
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| The Rake's progress the Canadian Robert Lepage, continues to drive the play kongenial. It does not leave history in the London 18. Century, it floats in addition, into the present, but does not dress it in the environment of the US-American oil and Hollywood Magnaten of the 1950's. The devil, nod Shadow, is a film director. Tom, an actor. Anne, daughter of a rich Texaner. I. / Review-German to English |
| Choreograper - Michael Keegan-Dolan |
| Lepage and his set designer, Carl Fillion, supply eight: a glittering, cinematic gallery of tableaux vivants inspired by the early days of television...Lepage justifies his updating by stating that �Stravinsky jazzed with Hogarth�s ideas in the same manner as he jazzed with baroque music�. The director and his colleagues (snazzy costumes by Fran�ois Barbeau, sharp choreography by Michael Keegan-Dolan, beautiful lighting by Etienne Boucher) take the jazzification further by replacing Hogarth�s sin city, 18th-century London, with 1950s Las Vegas, via Hollywood./ Story |
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| Brussels has first stab at an expensive staging shared with Lyons, Madrid, San Francisco and Covent Garden, but it is not the best of launches. Lepage�s visual imagination works its magic from time to time � Tom and Mother Goose sucked down into a heart-shaped couch, Tom�s inflatable trailer, and Anne doggedly steering her red sports car through terrible weather ...And updating the action to Hollywood is hardly pioneering stuff...But the real problem is a mysterious, frustrating imbalance between stage and pit... Lepage�s sets are wide open at the back and the sides... The voices often sound as miniature as the doll�s house Anne bids farewell to, but Andrew Kennedy�s Tom is still magically phrased and William Shimmell�s tired baritone manages to spit out Nick Shadow�s threats in the graveyard scene. Laura Claycomb�s Anne stays enigmatically faint and Dagmar Peckova�s Baba makes little vocal impact. Things may improve in another theatre but not enough, I suspect, to unseat the 1975 Cox/Hockney staging for Glyndebourne as supreme benchmark./ Review |
| Will Anne drive on the right in SF production?=NO |
| Costume supervisor -Jai Alltizer |
| Musical Preparation - John Churchwell, Ernest Fredric Knell, Matthew Piatt, Donato Cabrera, Svetlana Gorzhevskaya, Bryndon Hassman |
| Harpsichord - John Churchwell |
| Assistant Stage Director - David Lefkowich |
| Stage Manager - Lisa Anderson |
| Revival Choreographer - Rachel Poirier |
| Dance Master - Lawrence Pech |
| Wig and Makeup Designer - Gerd Mairandres |
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| 2007-08 Opera Talks-Peter Susskind |