A number of productions are available to rent from Lyric Opera of Kansas City. Below is a listing of the available productions. Select the production title below for information. For inquiries about rental availability, contact Tracy Davis-Singh, Director of Production, at (816) 471-4933 or email@example.com.
This new, traditional production of Eugene Onegin was created through a co-production with Hawaii Opera Theatre, Michigan Opera Theatre, Atlanta Opera, and Seattle Opera.
“Scenic designer Erhard Rom creates a world that opens and closes with ease. The depth generated by the backdrop is stunning, providing the illusion of expansive fields that seem to never end, blending into the sky with a bleak emptiness beyond tall, topless trees—no wonder Tatyana spends her time in fantastical realms of literature! Ball scenes are decadent but not overdone, though the chandelier in St. Petersburg is a sight to behold.”–KCMetropolis
This new, traditional production of The Marriage of Figaro was created through a co-production with Opera Philadelphia, Palm Beach Opera, and San Diego Opera.
“Leslie Travers’ scenic and costume designs lend a nod to 18th-century appearances, with expensive-looking chandeliers and richly embroidered gowns in bold hues: Even the servants’ livery is fantastically detailed. The set consists of two large wall segments that are placed at varying angles to create exteriors, interiors or (with the addition of some leafy tree-pieces) the Act IV garden. The “outer” wall is adorned with a bas relief of a tree studded with cameo-style portraits, presumably of members of the Almaviva lineage. When these oval-shaped portraits open to become windows (in which the nobles appear to summon their servants), we realize they are not to be taken literally. The result is a sort of dream-like representation of grand palace life on a smallish scale.”–The Independent
A new, traditional production with a three minute pause between Act I and Act II.
“Veteran designer R. Keith Brumley has created a handsome new set for the show, and its warmth, style and psycho-visual impact sometimes kept the eyes and the mind busier than the ears. The Parisian hovel of Acts 1 and 4, for example, featured outer walls that angled toward us, giving a claustrophobic feel accentuated by the outward thrust of the window. It enhanced the acoustic resonance for the singers, and at the same time it made us feel a bit of the characters’ desperation. Even the ‘gay' street of Act 2 seemed intentionally garish, to suggest that beneath all the glitz – and the willfully too-lavish costumes by Martin Pakledinaz – lay poverty and suffering.”–The Independent
A new and updated production of Don Giovanni from the dark and shadowy streets of Film Noir. Glamorous costumes, gritty atmosphere, and the glow of a neon supper club all combine to reveal the classic tale in a new and exciting light.
“The Lyric Opera of Kansas City’s film noir production of Wolfgang Amadeus Mozart’s ‘Don Giovanni' was a successful, stylized modernization.”–The Kansas City Star
A stylized, flexible and acoustically friendly arena for Carmen and her inevitable fate, that allows for a quick scene change between Act III and Act IV.
“Director of Design and Technical Production R. Keith Brumley designed an impressive set for the Lyric Theatre stage to accommodate [Bernard] Uzan’s vision and a cast of more than 75 members.”
“…elevated by a handsome, versatile new set by the Lyric’s R. Keith Brumley,”–The Independent
Puccini’s classic tale with three distinct and detailed locales: a towering cathedral interior, an intimate palace chamber, and the famous prison rooftop. A new production that includes full props and furniture.
“R. Keith Brumley designed evocative sets with deep, angled perspectives, poignantly lit by James Sale’s lighting design.”
–The Kansas City Star
“R. Keith Brumley’s set design makes an immediate impact as the first curtain goes up, where cavernous vaults meet geometric squares and a real sense of verticality and depth draw in the audience.”–KCMetropolis.org
Grand scenery created for the opening of the Kauffman Center for the Performing Arts in downtown Kansas City, Missouri. The setting for this Turandot is very cold and icy, featuring a non-traditional color palate of cooler tones feeding the concept of Turandot as the Ice Princess.
“R. Keith Brumley’s set designs were grand and elaborate…featuring an angled palace entrance stage left that emitted strong light but left you in suspense as to what was happening inside…Muted background colors helped highlight the color-splashed hues of Mary Traylor’s authentic-looking costumes.”–The Independent
“Keith Johnson, visual effects supervisor at Wide Awake, collaborated with (Bernard) Uzan and set designer R. Keith Brumley (as well as lighting designer Michael Baumgarten and props master Deborah Morgan) toward brilliant results in this remarkable space. Mary Traylor was again at her best, creating original costumes that brought the same authenticity and flair as did her work for Turandot in 2011.”–KCMetropolis.org