Following up on an incisive analysis of what’s really wrong at the company, Dawn Fatale says the Met needs to be more exciting – and makes some intriguing and inventive suggestions for just how to do that.
“The proliferation of cases has alarmed many scholars and defense lawyers, who say that independent of a defendant’s guilt or innocence, the lyrics are being unfairly used to prejudice judges and juries who have little understanding that, for all its glorification of violence, gangsta rappers are often people who have assumed over-the-top and fictional personas.”
“The company fosters an atmosphere that is the antithesis of intimidating: You can wander in and out without too much worry about losing your place in the story. Shouting during a favorite moment is hardly a breach of etiquette. And if you’re moved (or you pretend to be moved) by a power ballad, the rhythmic waving of a hand clutching a lighter is not out of place.”
“Radical breaks in style are technically gender neutral, and there are certainly men who have roamed among forms, styles, and even media. I am speaking of a tendency, one that seems to be more noticeable in women working in the twentieth century and beyond, perhaps owing to the fact that more work by women has found its way into the world since 1900.”
Would he accept an offer? “Yes, if I can do good music. If I’m going to be able to take care of the orchestra and being their artistic director. And if I’m allowed to make music with them, yes. Otherwise, not.” He also says that the process of “cleaning up things … should happen at every corner of the organization.”
The trend started as a way to increase box office income and get some new people inside the building, but now companies in both the U.S. and Europe are proudly mounting full-scale productions of Rodgers & Hammerstein, Sondheim and even Andrew Lloyd Webber. (Don’t worry, they’re not going to do Mamma Mia!.)