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Thursday, May 9, - pm to Saturday, May 11, - pm. Emily Brandt Liz Elizabeth King Joelle Nicole Cushman Will Noah Villarreal Deven Connor Mendenhall Mo Mary Heyl Mickey Will Koski Cooper Tanner Hake Claudia Taylor Porter Hazel Chloe Hayes Swing Louis, Missouri Mary is excited to be back on the Millikin stage for her final semester.


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Al Joritz, Asst. With the very detailed costumes for everybody on stage, you could not only differentiate the social classes for each, but also tell the ranks of the officers! In short, from the technical standpoint the production was pretty much flawless.

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However, to me, it failed completely on the third aspect, the sexual theme. In that sense, we were left with interpreting the production on a pure philosophical ground, and that was much harder fact to grasp, in my opinion. It robbed the importance of such scene.

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After all, if Billy was Christ-like, then that scene should be comparable to the events described in Matthew SF Opera was blessed with a great cast for this production, led by three outstanding main characters. I was most impressed with tenor William Burden , who seemed to be moving from strength to strength. He represented the character in multi-faceted approaches; authoritative and commanding in both acts, troubled and retrospective in the Prologue and Epilogue.

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Forster was credited with the creation of the Prologue and Epilogue of the opera, although many had argued that those actually weakened the story. Clad absolutely in black, his presence all over the stage felt like a phantom or bad conscience and his deep voice brought a terrifying edge into his interpretation.

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There was no redemption for this man! Baritone John Chest — making his company debut — seemed to be an ideal Billy with his handsome youthful look and doe-eyed innocence. Billy Budd is truly an ensemble piece, so I was glad that the comprimario roles were pretty uniformly excellent, and their movements on stage were well choreographed and coordinated. My Bag Items.

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