By James Jorden
The New York City Opera’s production of the Bernstein/Wadsworth A Quiet Place won what are called “mixed” reviews. A few critics hosannaed “Thanks be to Great God Lenny for smooching us once more with his plump, moist genius,” but the majority echoed Cecil B. DeMille’s tactful reaction to Norma Desmond’s bizarre comeback screenplay, “There are some good things in it…” (more…)