Angela Gheorghiu, Arrigo Boito, Giacomo Puccini, Guiseppe Verdi, Hector Berlioz, Hoodslam, In For a Penny, Les Troyens, lightwalker, Mefistofele, opera, Patricia Racette, San Francisco Theater Pub, SF Olympians, SF Opera San Francisco Opera, SF Theater Pub, Sir John Falstaff, supernumerary, The Magic Flute, The Trojans, Tosca, Trojan Horse, War Memorial Opera House, Wolfgana Amadeus Mozart, wrestling
In which I give a behind-the-scenes look at the world of professional opera and discover a subtle performance that reminds me why I love theatre so much.
Charles Lewis III, working.
“They played at hearts as other children might play at ball; only, as it was really their two hearts that they flung to and fro, they had to be very, very handy to catch them, each time, without hurting them.”
– Gaston Leroux, The Phantom of the Opera
This past weekend had quite a few discussions of Greek Drama pop up on my social media timelines. Yes, they were mainly Olympians-related, with quite a few of our fellow writers either dedicating that time to writing their plays and/or holding developmental readings. But there were quite a few heated discussions about classical Greek plays such as Lysistrata and Medea. The topic of Shakespeare Troilus and Cressida even came up at one point. If you wanted to talk Greek drama, apparently this was the weekend for it.
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