By eliminating most of the extended fantasy elements of the play, they reduced the storyline to the domestic turbulence of two couples and a deservedly ugly portrait of Roy Cohn. Add in a visit by the iconic Bethesda Fountain Angel (here totally generic) and some very dramatic, brass-heavy music and you have this intriguing production by New York City Opera that succeeds as an opera as long as one is not familiar …
SOURCE: www.theaterscene.net at 07:45PM on June 23, 2017