In the Boston Globe
They’re jumping rope with a noose, hop-scotching that tight rope between death and freedom.
The scene, straight out of “The Black Clown,” now at the American Repertory Theater, isn’t just for the stage.
This dance is the dance of Reginald Andrade, the UMass Amherst employee who was accosted by police Friday for walking to work while black. He regularly practices raising his hands in the air, just in case he’s stopped by police, so that he’s always seen as cooperative... Click here to read the full article
ZW Featured on Vogue.com
New York Fashion Week has moved on from Lincoln Center, but the Upper West Side plaza is buzzing this week with a different energy. That’s thanks to La Calisto, Francesco Cavalli’s 1651 opera, reimagined by 27-year-old wunderkind director Zack Winokur. Conducted by Stephen Stubbs (perhaps the world’s foremost lutenist), La Calisto opens tonight at The Juilliard School, Winokur’s alma mater, in a black-box theater that has been transformed into a Venetian opera house by the high-end gallery firm Charlap Hyman & Herrero... Click here to read the full article
THE REVIEWS ARE IN FOR LA CALISTO
Juilliard Opera's presentation of Cavalli and Faustini’s La Calisto at the Rosemary and Meredith Willson Theater (seen Feb. 17) was one of the most elegant and imaginative shows that New York has enjoyed this season... Click here to read the full review
On Wednesday evening, Juilliard Opera and Juilliard415 presented a production of Francesco Cavalli’s 1651 opera “La Calisto” in the space. With a small band of period strings and plucked instruments tucked into a corner, Zack Winokur’s staging used all available space comfortably, and, as in “Onegin,” the room proved an excellent showcase for skilled young voices...Click here to read the full review
Sunday afternoon found me at Juilliard Opera for a 365-year-old comedy: Cavalli and Faustini’s delicious La Calisto in a superbly imaginative mounting by young director-choreographer Zack Winokur...Click here to read the full review
La Calisto dates from a fascinating period in early opera, when the newish art form was migrating from private courts into the public theaters of Venice in the mid-17th century. The surprise at Juilliard was how fresh and resonant the work can be when experienced in such a smart, tasteful production...Click here to read the full review