Ladies and Germs, Wellsung is back!
Here's the rest of the round-up, or some of it:
We're going to have to wait for a Parterre pan or paean, as JJ is doing it up for Gay City News, we presume.
JSU is opting for Idomeneo as a season kick-off but sent in a bulletin from Time's Square, as did our correspondent who actually treads the boards, singin'.
Alex Ross presents a few snapshots of the festival atmosphere on the plaza.
If I didn't link you, no slight is meant (well, I mean, with maybe one exception! Now where'd I put that I'm-just-joshin'-ya emoticon: ;) )
Only the fact that I'm moonlighting these days saved me from my suicidal, death-by-sleep-deprivation instinct to go to Gioconda tonight. I'm dying to see it.
Meanwhile I feel a little like weighing in on the Matter of Moppet v. Puppet. I'm pro-puppet, and it's not just because I think children onstage spell the end to any critical reception of a work of theater. [Remember those reports that Maria Ewing dragged her little mentally ill German love-child out with her for a Wozzeck curtain call because nobody can give a child anything but an enthusiastic reception?] I actually remember thinking during Being John Malkovich that I may have the issue with puppets that so many people have with clowns, so I wasn't pre-disposed to like it. In pratice, I think it works, primarily because it's so far removed from what you might imagine, a big floppy doll getting lugged around the stage. Two people work the puppet, so it has a...not exactly a realistic motion, but a subtle and stylized simulacrum. And honestly, it's probably less creepy to see a silent puppet up there than a silent child. Children are almost never silent for extended periods, quite the opposite. This is one reason Maury categorically avoids them.
And as long as I'm doing a kitchen sink entry: the quasi-new Cat Power album is fucking fantastic.