Free-floating anxiety in the building today, as the Volpone cast gathers for the first time and slogs, uh….. sings through the score. :)
The design presentation revealed a unit set (what other kind is there in The Barns?) that functions as a huge gold framework for the story. Which is, of course, is about lust. Primarily for money, but it’s not the object of the lust that’s the important thing. And it’s a good reminder that 401 years ago, Ben Jonson wrote this play and set it in what was at that time the most opulent city in Europe – Venice.
Director Peter Kazaras referred to the The Grifters
in describing the title character and his sidekick. Implement the scheme and move on. Nice parallel.
The Power of the Right Frequency
It was sometime around 1987. We were rehearsing for a scenes concert for the large amphitheatre, and the rehearsal was being held in The Barns, our chamber venue. The entire 60+ piece orchestra and soloists were arrayed on the floor of the theatre (our chairs are movable). There are sliding glass doors on either side of the house. During the bass/baritone duet from Luisa Miller, the full low frequency complement on house left (singers, celli, basses, trombones…) must’ve tickled the think-paned glass in just the right place, and it cracked from top to bottom. I wouldn’t have believed it if I wasn’t there.
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