First, however, Koski is the original work he arrived at until July 10, after not wanting to expect a final work like an operetta, and after the pandemic overturned his plans. Stravinsky Marathon must finish running “Review”. Few directors dream of a homage to Yiddish entertainment, which is common in Catskill Mountains resorts in the mid-20th century.
“The list of performers there-it’s like a man of American culture, all going to this Jewish utopia, a kind of summer kibbutz,” Kosky said, like Joan Rivers, Danny Kaye, and Brooks. Mentioned and said. “That is, what was Catskill, if not a kibbutz without politics?”
It’s paced like a playlist, with ups and downs, and sometimes calm. The show features popular music arranged and conducted by Adam Benzvi (called Adam Bensky from the stage) and folly-like choreography with a focus on physical comedy. By Otto Pichler. Company members and guest performers come in many forms, but not as surprising as Dagmar Manzel on a terrible cool turn from the noisy Cleopatra last week.
Throughout, Kosky, who hosts the show through pre-recorded referrals, is slowly working on a subtle balance of irony and camp. Both men and women sing with drugs. There is a lot of borscht belt humor (“under the girdle”). The performers are supposed to be Marvel Cinematic Universe scale personas. There is an orthodox Jewish boy band, “Minsk’s Meso” Sylvie Sonitsuki. Don’t forget the temple choir. Ending with something like Verdy’s “Falstaff,” Kosky “dances!” To the audience with joy and congratulations to everyone, a huge ensemble supported by a huge orchestra.
Kosky would not have been able to say goodbye in any other way.