How people take leave of a job says a great deal about them. This summer marks the last for Jay Lesenger as Chautauqua Opera’s general and artistic director.
For every new play written about an Esther Mills, it seems there are a dozen more about Mary Todd Lincoln’s black seamstress, Martin Luther King Jr.’s black hotel maid and Woodrow Wilson’s black stenographer. It is simply easier for playwrights to get a commission when they choose to focus on African-American characters who are connected to known historical figures.
The allusive title of this exhibition, conceived by Galleries Director Judy Barie, suggests a play on the contemporary phrase “farm to table.”
Citizenship found meaning again Thursday evening. It was discovered in the “everyone” who is an immigrant. Not the immigrant “them.”
Sarah Hayes Harkins’ long line, fully down from her pointedly leading index finger, called a nearly full Amphitheater audience to their feet to welcome the Charlotte Ballet home happily to Chautauqua on a humid night Tuesday, après le deluge. It was a day for torrents and big rain, so it was testimony to the resident company that so many ventured out, the weather still threatening.
She has the name of a star and the talent to go with it. A Fulbright Scholar to the University of Missouri master’s program in the School of Journalism, the young Romanian photographer has developed her thesis project on a theme of “Chautauqua Dream World.”
My mistake. I initially assumed that the Chautauqua Opera production of Macbeth would be in Norton Hall, a natural setting for this midsize masterpiece of Verdi’s early maturity. Only on my arrival did I realize that it was booked as a one-off in the Amphitheater. Could Macbeth really fill the space à la Aida?
If there is a more quintessentially American experience than watching Thornton Wilder’s Our Town on the Fourth of July, I don’t know what it might be. I was privileged to have that experience on Saturday at the opening of Chautauqua Theater Company’s lively and likable production of Wilder’s 1938 drama.
Guest Critic Review by Christopher H. Gibbs There was an unusual sense of anticipation and celebration Thursday night at the
The perpetual motion of the 20th century — age of the Internet, speed and the bomb; of image and invention, for better or for worst, danced to an accelerated clock, ceaseless, relentless, stopping only on occasion, to catch a breath, to grieve, or for a night’s breeze, a dog’s bark, perhaps the last concert of the 2014 Chautauqua season.