"Director Tara Faircloth used the supporting cast to advantage in a production that was at once fairly conventional — set around the time the opera was written, in the early 20th century — and quietly inventive, particularly in its use of the backstage area in Act II, so you could see what was happening on the fictive stage and what was going on behind the scenes. . .
And Joshua Conyers, with his strong baritone, and Ian McEuen, with a wiry tenor, made fine foils as a kindly, pragmatic music master and a hustling dancing master in Act I."
-Washington Post
The production directed by Tara Faircloth made clever use of the proscenium area, separated from the orchestra in both acts by a diagonal wall (scenic design by Laura Fine Hawkes). Faircloth’s direction, especially the use of small “offstage” areas in the wings in the second act, brilliantly walked the line required by the opera, with slapstick parody that did not get in the way of the exalted moments in the score."
-Washington Classical Review
"Director Tara Faircloth did an excellent job in presenting the story, especially in choreographing the moves of a large number of players on a small stage and bringing each character to life. . .
Baritone Conor McDonald who played the speaking-only role as Major-Domo was perfect in appearance and in spewing his messages with a ringing German accent. . .
-Opera Gene
