BY STAN SCHWARTZ [NY Sun, 26 March 2007]
The house lights fade. The Maestro gives the downbeat, and the auditorium promptly fills with the majestic opening strains of Mozart’s “The Magic Flute.” Two minutes in, however, just as the music quickens to the lively tempo of the overture’s main theme, squiggly lines materialize within the black limbo space of the stage.