Josh Major Tackles Falstaff
I assure him they do, that some loved his Dialogue of the Carmelites and loathed his A Midsummer Night's Dream, that some found his direction "wonderful," "beautiful," and "often moving," while others found it "strange," "weird," or "just plain wrong." "'Wrong'?" he asks. "I would say … there's not much I would say."
The consensus seems to be that his Carmelites was brilliantly affecting, his Cunning Little Vixen sweetly delightful, his Midsummer Night's Dream barely tolerable-mostly because of the music-and that reaction to the rest was all over the map.
"People are allowed to disagree," says Major. "I try to tell the story as well and as cleanly as I can, but I don't expect everybody to agree with the story I decide to tell, because it's done from a particular point of view, and people will disagree with your point of view."
An associate professor, Major is marking his twentieth year in Ann Arbor. "It's crazy. I never thought I'd stay this long. But I quite happily stayed." Just because he lives and works here, however, doesn't mean Major doesn't travel. In addition to what he estimates to be upwards of thirty-five productions he's done here, he's directed dozens of operas from Tulsa to Tel Aviv.
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