Lorraine Goodman - Writer-Director

Lorraine Goodman will be seen in The Departed, a new film directed by Martin Scorsese for Warner Brothers Pictures.

The film, which stars Jack Nicholson, Leonardo DiCaprio and Matt Damon is due for release next year.

Ms. Goodman appears as the Leading Lady, i.e., Lucia di Lammermoor, in the film's opera sequence.

When Mr. Scorsese asked for help with the traditional staging of this scene from the opera, Ms. Goodman shared some interpretive concepts using her experience as an opera singer/director. These suggestions were then incorporated into the direction of the opera sequence.

OPERETTA: Sumptuous set and catty cameos are among the highlights. "If Anchorage Opera fans held illusions about "Die Fledermaus (The Bat)" being a serious production, those illusions vanished right at the beginning as the operetta's goofy back-story was projected in black-and-white film onto a movie screen. Any prologue that uses phrases like "Bat buddy, we must fly!" indicates that what follows will get silly early and stay silly until the last waltz. Not that "Fledermaus" doesn't address universal themes such as revenge, love and infidelity. It's just that director Lorraine Goodman conveys these themes through broad verbal and visual puns, wacky walks, exaggerated facial expressions and more than a hint of cross-dressing in the chorus. In addition, the performers regularly speak to the audience and the orchestra. At one point, the jaded Prince Orlofsky (Ralph Daniel Rawe) complains that the "inane gaiety" of operettas bores him horribly, but then he and the cast tell the onlookers that even if they agree, "We already have your money." Boredom was unlikely, due to the brisk pace, rich sounds, vaudevillian comedy, and shimmeringly beautiful 1920s-era costumes. At Saturday's sold-out opening-night performance, there was always something to look at and to laugh at despite a somewhat hesitant first act. The pace picked up considerably during the second act, thanks mainly to the spirited byplay between Gabriele von Eisenstein (Bruce Reed) and his wife, Rosalinde (Evelyn de la Rosa), and to the vocal hiccups of countertenor Rawe. An audience favorite, Rawe played Orlofsky as an effete punk, all spiky red hair and earrings and languid boredom. This post-revolutionary prince has surrounded himself with decadent "Cabaret"-style pals and enough champagne to quite literally fill bathtubs. Director Goodman also did the English text, mixing in plentiful verbal silliness, such as the "conversation" between the delinquent convict Eisenstein and prison warden Frank (William Lynn Dixon), both unaware of the other's true identity and pretending to be French: "Cour-ahje. Fro-mahje. Bon voy-ahje." She also included a reference to Anchorage Mayor George Wuerch. In addition to delicious vocalizations, Kate Egan and Osvaldo Peroni brought delicious mugging to their roles as Adele, the housemaid and showgirl wannabe, and Alfred, an Italian tenor with eyes on Rosalinde, who wonders out loud how she'll pass the time while her husband's in jail. Watch, too, for cameos -- or rather cameows -- by Anchorage Opera artistic director Peter Brown and diva Gloria Marinacci Allen, wearing castoffs from "Cats" and performing a killingly funny feline duet borrowed from Rossini and transplanted into this Viennese frolic. There was nothing subtle about the antics of Anchorage Opera director Ed Bourgeois as Frosch, a drunken prison guard. While his didoes brought tremendous laughter, they threatened to derail the third act. About that last waltz: While composer Johann Strauss Jr. is known for his waltzes, the performers don't stop there. They jig, Charleston, cancan and conga-line. And Bourgeois deserves extra kudos for his ability to dance a hornpipe while handcuffed to another man and hiding beneath a judge's robes. We told you it was silly."

Donna Freedman, Anchorage Daily News, March 4, 2003

Grammy or not, music is the cure "Just because we haven't had much of a winter doesn't mean you can't catch a winter cold, and late last Friday I came down with a lollapalooza. I don't expect cries of sympathy out there since the other infected parties of my acquaintance had it much worse, losing days from work or watching their sniffles transform into bronchitis or even pneumonia. I credit the fact that mine didn't so evolve to the fact that it arrived on a weekend and I could devote myself to staying in bed, where I avoided the temptation to get out on what happened to be a beautiful Saturday. But there was the matter of opera tickets for the opening-night performance of "Die Fledermaus," already purchased. Being the cheap type, I would rather die than lose the investment, so as evening came on, I managed to stuff myself into a shirt and tie, cram a bunch of cough drops into my pocket and get to my seat -- next to another patron battling her own malaise -- with one minute to spare. It couldn't have worked out better. As soon as conductor Gerald Steichen hit the downbeat, the symptoms eased. Strauss' ebullient music, the merry script and witty performances seemed to effect a cure. Perhaps the old saws are right: Music heals, and laughter is the best medicine. Two performances of this batty comedy remain, if word of mouth hasn't already sold out the Discovery Theatre the way opening-night buzz rapidly made all the tickets for "Turandot" disappear last month."

Anchorage Daily News, 8 Magazine, March 7, 2003

In Review: The past month has been exciting for cultural lovers in Las Vegas. Here's a look at what's been happening (and we're sorry if you missed it.) Opera Las Vegas "Master Class" in September was astounding. It culminated in a spontaneous standing ovation and accolades of "bravos" hurled from the enthusiastic audience as Gloria Allen took her bows after starring as Maria Callas in "Master Class." This deep and moving Tony award winning play kept the audience hanging on every line of wit and drama. Music lovers delighted as tenor Vale Rideout sang his aria "Recondita armonia" from Puccini's Tosca with technical perfection and passion. The dramatic and vibrant voice of soprano Rachel Mondanaro left a lasting impression on the audience as well as the strapless, fiery red dress hugging her hourglass figure. Rachel is no Callas spin-off but has the "Grinta" to become a world-class operatic star. We wanted to hear more from soprano Michelle Pippin but what we did hear hints at another marvelous voice, which would only adorn her comedic and acting skills. Thanks to Opera Las Vegas and its general director Gloria Allen for sponsoring and bringing this glorious production of Master Class to the Las Vegas cultural community. We all left with a greater understanding of the artistry of music, via the legendary Maria Callas who lives once again from beyond, like a direct line from Callas through Gloria to the audience. Gloria Allen is Maria Callas! One line from the play says it all "Ho datto tutto a te!"… I gave you everything."

Luxury in Las Vegas, Nov/Dec 2003

VIDEO SAMPLES

For more information and sample lyrics and text on "The Bat's Meow", click here.