How To Not Train Your Dragon: A Review of Siegfried at Lyric Opera of Chicago | Newcity Stage
A stage director's job is to connect with a story, then share that vision with the audience after filtering through designers' and performers' hearts, minds and understandings. When everything goes beautifully, the director's tutelage all but disappears, as audiences engage with the last link in this game of artistic telephone: the performers. Conversely, and perhaps unfairly, the opposite is true as well. When things go awry, the director is up on report. Esteemed director David Pountney continues his exploration of Wagner's Ring Cycle at Lyric Opera of Chicago with "Siegfried." There is much to adore. Set designer Robert Innes Hopkins' work, expanding upon earlier work of Johan Engels, is sometimes invigorating. His setpieces for the section of the first act when Siegfried restores his father's broken sword takes a passage that can feel overly long and infuses it with a sense of fun. The dragon Fafner and the forest bird take puppetry to a new level, where the means quickly disappear