A number of productions are available to rent from the Lyric Opera of Kansas City. Below is a listing of the available productions. Click the production title for information. Contact Tracy Davis-Singh, Director of Production, at 816-471-4933 or email@example.com for inquiries about rental availability.
Le Nozze di Figaro
Created through a co-production with Opera Philadelphia, Palm Beach Opera, and San Diego Opera, this is a new, traditional production of Le Nozze di Figaro.
” Leslie Travers’ scenic and costume designs lend a nod to 18th-century appearances, with expensive-looking chandeliers and richly embroidered gowns in bold hues: Even the servants’ livery is fantastically detailed. The set consists of two large wall segments that are placed at varying angles to create exteriors, interiors or (with the addition of some leafy tree-pieces) the Act IV garden. The “outer” wall is adorned with a bas relief of a tree studded with cameo-style portraits, presumably of members of the Almaviva lineage. When these oval-shaped portraits open to become windows (in which the nobles appear to summon their servants), we realize they are not to be taken literally. The result is a sort of dream-like representation of grand palace life on a smallish scale.” The Independent
“Veteran designer R. Keith Brumley has created a handsome new set for the show, and its warmth, style and psycho-visual impact sometimes kept the eyes and the mind busier than the ears. The Parisian hovel of Acts 1 and 4, for example, featured outer walls that angled toward us, giving a claustrophobic feel accentuated by the outward thrust of the window. It enhanced the acoustic resonance for the singers, and at the same time it made us feel a bit of the characters’ desperation. Even the “gay” street of Act 2 seemed intentionally garish, to suggest that beneath all the glitz – and the willfully too-lavish costumes by Martin Pakledinaz – lay poverty and suffering.” The Independent
I Capuleti e i Montecchi
A new production of I Capuleti et i Montecchi that explores how Romeo and Juliet’s love flourishes and endures against a backdrop of violence and war. The fall-out shelter in which the Capulets are forced to live in highlights the isolation and emotional imprisonment so pervasive in the libretto.
“The Lyric Opera’s version separated the political and romantic narrative from its regional and historic origins, with help from Vita Tzykun’s set design, which was stark, monochromatic—and purposefully ambiguous. Newbury’s goal was to tap into the contemporary resonance of war, and how love succeeds or fails to transcend violence. This non-descript (and non-region specific) design was thus charged with exploiting the theme of love—and how it seeks to find footing amidst long-standing strife and animosity.” KCMetropolis.org
A stylized, flexible and acoustically friendly arena for Carmen and her inevitable fate, that allows for a quick scene change between Act III and Act IV.
“Director of Design and Technical Production R. Keith Brumley designed an impressive set for the Lyric Theatre stage to accommodate [Bernard] Uzan’s vision and a cast of more than 75 members.” Present Magazine
“…elevated by a handsome, versatile new set by the Lyric’s R. Keith Brumley,” The Independent
Die Fledermaus is a colorful new production with three distinctive locales including an Act I terrace and garden wall. The show is furnished with restored and freshly upholstered period furniture and richly detailed chandeliers and set dressing.
“R. Keith Brumley’s partly new set design was exceptionally elegant, with a richly turned-out domestic scene for Act I — complete with large, arched windows stage left leading to a leafy, inviting garden. The Act II palace was glitzy enough that you could almost believe it was one of the most lavish residences in the entire Austro-Hungarian Empire…” The Independent
A new and updated production of Don Giovanni from the dark and shadowy streets of Film Noir. Glamorous costumes, gritty atmosphere, and the glow of a neon supper club all combine to reveal the classic tale in a new and exciting light.
“The Lyric Opera of Kansas City’s film noir production of Wolfgang Amadeus Mozart’s “Don Giovanni” was a successful, stylized modernization.” The Kansas City Star
The Flying Dutchman
A new traditional production with rustic weathered wood construction details, coupled with a new and intricately detailed costume package, framed by state of the art video for the staged overture and the Act III finale.
“Keith Brumley’s set designs were straightforward: The rough-hewn interior for Act 2 was attractive…and the Dutchman’s ship looked aptly sea-weary and sinister.” The Independent
“Mary Traylor was again at her best, creating original costumes that brought the same authenticity and flair as did her work for Turandot in 2011.” kcmetropolis.org
“The wildly colorful set design by R. Keith Brumley is a delight to look at, with a red “oriental” arch over a V-shaped, multi-platformed floor that the singers have to negotiate with caution. The walls are decorated with detailed patterns and an ingenious central “revolving door” for Act 2 that allows characters to make suprise appearances with a simple rotation.” The Independent
Puccini’s classic tale with three distinct and detailed locales: a towering cathedral interior, an intimate palace chamber, and the famous prison rooftop. A new production that includes full props and furniture.
“R. Keith Brumley designed evocative sets with deep, angled perspectives, poignantly lit by James Sale’s lighting design.” – The Kansas City Star
“R. Keith Brumley’s set design makes an immediate impact as the first curtain goes up, where cavernous vaults meet geometric squares and a real sense of verticality and depth draw in the audience.” – KCMetropolis.org
Grand scenery created for the opening of the Kauffman Center for the Performing Arts in downtown Kansas City, Missouri. The setting for this Turandot is very cold and icy. It features a non-traditional color palate of cooler tones feeding the concept of Turandot as the Ice Princess.
“R. Keith Brumley’s set designs were grand and elaborate…featuring an angled palace entrance stage left that emitted strong light but left you in suspense as to what was happening inside…Muted background colors helped highlight the color-splashed hues of Mary Traylor’s authentic-looking costumes.” The Independent
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