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Hyperallergic

Hyperallergic

Sensitive to Art & its Discontents

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John Sherer

John Sherer is a writer based in Brooklyn. His poems and essays have appeared or are forthcoming in The Point, Hot Metal Bridge, Botticelli Magazine, and Gulf Coast.

Posted inPerformance

A Celebration of Opera Affirms Its Relevance

by John Sherer November 4, 2019November 5, 2019

From a monologue on death to a story about a police shootout, Opera Philadelphia’s productions showed us the many things opera can be.

Posted inPerformance

Mining Robert Mapplethorpe’s Legacy, With Missteps

by Gabriel Grossman and John Sherer July 24, 2019July 29, 2019

Though its music, and use of Mapplethorpe’s photographs and texts by Essex Hemphill and Patti Smith were impressive in their own rights, the performance Triptych (Eyes of One on Another) ultimately appeared cheap, forced, and self-congratulatory.

Posted inPerformance

An Unforgettable Wagner Production Caps Off the Met Opera Season

by John Sherer and Gabriel Grossman April 30, 2019

Robert Lepage’s production design is unforgettable, and the giant machine that serves as its centerpiece is distinctive enough to seem like its own character.

Posted inPerformance

Everyone Falls for Everyone in This Operatic Romp Based on Shakespeare

by John Sherer February 15, 2019

Rather than sticking to a literalistic depiction of the woods of Fairyland, Robert Carsen sets his adaptation of A Midsummer Night’s Dream in a more symbolic land of beds.

Posted inPerformance

A Missed Chance for Female Empowerment in the Metropolitan Opera’s Marnie

by John Sherer November 7, 2018

At first, the opera seemed relevant to today’s re-evaluation of gender norms. But the narrative does not bear out this interpretation.

Posted inPerformance

A Surrealist Satire by Luis Buñuel Becomes a Grim Opera

by John Sherer November 6, 2017November 6, 2017

The Metropolitan Opera’s lone contemporary production this season is an adaptation of Buñuel’s 1962 film about the Spanish aristocracy, The Exterminating Angel.

Aidan O'Shea, Regina Strayhorn, Ayun Halliday, and Ben Watts in Faust 3: The Turd Coming, or The Fart of the Deal (all photos by Jonathan Slaff)
Posted inPerformance

A Faustian Satire of Our Shitty President

by John Sherer June 26, 2017June 26, 2017

The new play Faust 3: The Turd Coming, or The Fart of the Deal is a gloves-off attack on Donald Trump — though it never mentions him by name.

Sean O'Callaghan, Jared McNeill, Ery Nzaramba, and Carole Karemera in 'Battlefield' at BAM (all photos by Richard Termine, courtesy Brooklyn Academy of Music)
Posted inPerformance

An Epic Sanskrit Poem, Distilled and Defanged for the Stage

by John Sherer October 7, 2016

When the Brooklyn Academy of Music’s Harvey Theater (then the BAM Majestic Theater) opened in 1987, lauded director Peter Brook staged his production of Jean-Claude Carrière’s Le Mahabharata, itself based on the gargantuan Indian epic.

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Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

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