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This modern-dress studio production is “not your parents’ Don Giovanni” – the very opening shots, depicting a real New York slum full of rundown buildings, dead rats and garbage-covered snow, make that clear. Set in the South Bronx, this Giovanni strips the characters of their social statuses, keeps humor to the barest minimum, and brings forth loudly and clearly all the darkness that normally only simmers below the opera’s surface. Anna is an obvious rape victim who turns to heroin to escape from her trauma. Masetto does indeed beat Zerlina. And Giovanni and Leporello, innately “not so different,” are here portrayed as identical African American twins – a nearly interchangeable pair of streetwise, leather-clad, coke-snorting, gun-wielding hoods. Ensembles are staged as interpretive dances, and the finale is a hodgepodge of surreal horror, with a green-faced Commendatore, a somber little girl who lures pedophile Giovanni toward his doom, and bare-chested “demons,” both male and female, rising from the pavement.Read More »
