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The staging is full of the unexpected.
Casting Hercules as a paparazzi-hounded celeb neatly suggests that all myths are founded on misrepresentation; and Alex Clifton's staging is full of felicitous touches.
I don't believe the rage: Ray Barra's staging is full of good performances, but this enclosed world doesn't come to life.
The staging is full of familiar Wilson touches: the geometric backdrop illuminated with changing, saturated colors; minimal bits of scenery turned into landscapes; ensemble members crisscrossing the stage in straight intersecting lines; characters frozen in certain poses, and some stylized, angular hairdos.
Playing in a bare-box set by Katrin Lea Tag that flouts France's tradition of visual splendor, the staging is full of trendy clichés like having choristers mimic disco dancing while singing jaunty music or having characters experience epileptic fits at crucial dramatic moments.
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Mr. Kuri's staging was full of extraneous gestures, like having Montezuma's bride Eupaforice (Lourdes Ambriz) unfold and iron the Mexican flag while singing in a duet.
No matter that the staging was full of hackneyed "darkest Africa" imagery, with several singers done up in inky blackface; the provocateur will always have the upper hand against the provoked.
The stage is full of shadows.
The talk is dark; but the stage is full of light.
The stage is full of characters who should make audiences think again about the word "migrant".
Soon the stage is full of imaginary people (plus the odd whining trombone dog).
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com