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Its real design-function is to provide an immense visual symbol of the lake-production that can be seen kilometers away by tourists in autos, trains, and Bodensee ships. The best thing about the entire production, at present, is the chorus. Festival IN was in the balance. The example of La Traviata at the Aix-en-Provence opera festival, disrupted by protesters banging pots and pans and setting off fireworks and harassing the audience when it came out of the theatre, did not bode well for Avignon. They follow with astonishing impact, outraging some spectators, but delighting most. Even better, though, was one of the master strokes of the production: at first sight, this little Kate was erotically awed by the charismatic Petruchio. It is merely reported. It was also, not surprisingly, far more faithful to the original text, at least in the words spoken, if not in their physical realization. The surprise is that it is as colorful and playful as a Joan Miro painting. In the final moments of the powerful score, the two lovers ascended, as puppetfigures, into the heavens. Three are windows and one a door, but all are playable.
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But this Hamlet is anything but silent. Watch him rise to stardom, childlike, playful, disturbed. The adaptation was put in the capable hands of the Dutch director Johan Simons and although, once again, most of the action was told through direct narrative Simons found a way to make the evening highly dramatic. In June, he had written articles in the press supporting their position and he had been actively involved in discussions with the Minister of Culture and representatives of the Prime Minister and the President of the Republic as Festival time approached, in attempts to influence their decision, but the government stood firm in its position to go ahead with reforms. This annoyed, amused, or baffled both critics and audiences. Only Erda Mary Phillips was allowed somnolence.