We give certain of the lower class characters Converses we give them flat shoes, not heals, which means you walk in a different way. It’s one way of doing it, but that’s not what I wanted. So we decided to go in period, but at the same time, the last thing I wanted was a “period production” with all the kind of walking around on raised heals and that manner. If they had been paid, then the action doesn’t really make sense, because it is all about that they have no option but to scheme their way out of it. When you go post-French Revolution, people could get another job. we are in period because the action dictates we are master/servant time. What we wanted to do was not let a quasi-historical setting -i.e. Is there anything else about that or other interesting tweaks to the show’s traditional structure that audiences should know coming in? I recently saw a video Seattle Opera posted about how all the costumes in The Marriage of Figaro are going to be made from denim in an attempt to convey some modern artistic choices. And what that then creates is this wonderful blend of understanding and seriousness conveyed through the manner of comedy, so it is both funny but also has a really warm and deep heart. We need to like these characters, however absurdly they are behaving. And that’s very important, because at the end of the day this piece is about forgiveness. It’s not funny to be stupid, it’s not being funny to get laughs, we’re trying to really play the farcical situation of this piece where the humor and enjoyment comes out based on reality, rather than being imposed on it. So we’re trying to make it very funny, but with a sting. It’s not about making people laugh, it’s about presenting situations where human beings are under extreme pressure or circumstance, and it is funny to watch. As always, comedy is essentially serious it’s about real behavior. It reads like a play and it has all the kind of intrigue and ever evolving plot which a farce has. What is your favorite aspect about this production of The Marriage of Figaro?įirst of all, it’s structured as a farce. For our latest Fiendish Conversation, we talked to Lang about the farce of Figaro, the opera's unique all-denim wardrobe, and trying to combat opera's stuffy stereotypes.
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