Parking for lyric opera house how to#
Parking for lyric opera house driver#

With Isobel Lennart’s book newly revised by Harvey Fierstein, Michael Mayer directs. Lea Michele stars as the striving then celebrated entertainer Fanny Brice - opposite a sizzling Ramin Karimloo as her roguish husband, Nick - in the first Broadway revival of this Jule Styne-Bob Merrill musical since Barbra Streisand was a sensation in the role in 1964.

Parking for lyric opera house how to#

Here’s an overview of the productions onstage now, along with some tips on planning your experience - including how to purchase tickets and navigate Covid-19 protocols. You can talk in your car in the dark you can do whatever, maybe even fantasize about putting pedal to the floor and Jake-and-Elwooding past Brünnhilde and a pandemic scenario that has had us all masked, pained, isolated, anxious, confined to our own spaces as life marches on and death comes closer.For theatergoers, Broadway offers a rich menu to choose from. Literally, at times.Īnd you, of course, are divorced from other audience members. The singers traverse the space: Goerke comes close to some windshields as she wanders in Brünnhilde’s agony, but the overall experience is one of humans, be they Chicagoans or creatures of Old Norse mythology, divorced by circumstance and environment and the mistakes of the past, even as the young narrator tries to rope everything together. (Stacey Wescott / Chicago Tribune)īut Waltraute’s story is very much live, as is Brünnhilde’s intransigence and spectacular conclusionary self-sacrifice, following the death of her lover Siegfried (Sean Panikkar), an evisceration here involving a car, naturally enough. The processional scene for Siegfried includes dancers moving among 2880 candles in Lyric Opera of Chicago's 'Twilight: Gods.' The dancers are from the Joffrey Academy of Dance. The first scene takes place on high-definition video, matching the multi-media conception but also probably facilitating logistics, since groups of cars are entering every 10 minutes. young, an interdisciplinary artist in the role of The Norns, and the text is free-wheeling enough to evoke racial unrest, violent police encounters, a lack of oxygen. The necessary truncation is mitigated by an original narration, performed in Chicago by avery r. The running time of the epic piece is 70 minutes and you should know that a good chunk of that is taking up by moving from place to place at three miles an hour, although much effort is expended to make that journey as experiential as everything else. At one point, you turn a corner and see a veritable sea of light, part Christmas in Santa Fe and part old Norse metaphysical and, of course, very Wagneresque. But the biggest eye-popper is the lighting, all seemingly battery powered and evoking a panoply of referents from crumbled Athenian columns to the petitions of the candles lit during Dia de los Muertos. Text (oblique, contemporary, Wagnerian) can be found.

Thompson and Kaitlyn Pietras, executing an original Sharon concept first created for the co-producing Michigan Opera Theatre, which might explain the dominance of cars, especially since the MOT owns its own parking garage in Detroit. But the experience was conceived for acres of space, filled here by a truly stunning design from Jason H. It is technically verboten to lower your window to snag the unique acoustic experience of hearing the incredible sound of Goerke in an underground parking garage (unless she makes an unknown habit of that), but I confess to breaking that rule for a moment.Īs you navigate a tight corner, you may have to take care not to hit a cellist. Thereafter, the live singing of, say, Catherine Martin (Waltraute) or Christine Goerke (Brünnhilde) fills the cabin, as accompanied by musicians located in various parts of the garage. A passenger finds a radio station on the FM dial.

Parking for lyric opera house driver#

At each of the five destinations, the driver stops in a precise spot, regulated to the inch, and turns off the engine to avoid exhaust fumes. The private automobiles, symbolic referents to which also suffuse the work, are led by guides in funereal procession through different stations in varying sections of the garage.