Press Room

Press Room

Kalean Ung, Soprano
“Catherine”

Suchan Kim, Baritone
“Jinzo”

John Duykers, Tenor
“The Daruma Doll”

Philip Kan Gotanda,
Librettist

Max Giteck Duykers,
Composer

Melissa Weaver

Melissa Weaver,
Director

Ben Makino,
Conductor

Previous reviews for the cast and creators of
Both Eyes Open


Suchan Kim

“… sang Tarquinius with a voice seductive warmth and overpowering strength.”

— Steven Jude Tietjen, Opera News

“commanded each scene he appeared in with a focused, muscular baritone and brought the house down with a virtuosic portrayal of the increasingly drunken servant, Germano.”

— Corinna da Fonseca-Wollheim, The New York Times


Kalean Ung

“Ms. Ung however, was the most devastating. She was outstanding as the confused newlywed brought down by lies and envy.”

— -Erin Fair, Discover Hollywood

“Kalean Ung, as Margaret the widower of Henry Sixth, held the audience spell bound in her grief and rage.”

— Philip David Morton, The Huffington Post


John Duykers

“Tenor John Duykers, a memorable Mime is LBO’s Ring cycle, was warmly sympathetic as the doctor, exhibiting the proper medical authority and avuncular charm while singing beautifully.”

— Long Beach Gazette

“The veteran tenor, John Duykers, personifies everything that is sympathetic about Dr. S.”

— Mark Swed, Los Angeles Times


Philip Kan Gotanda

[Gotanda’s] work is graceful, elegant, open-hearted, and economical. His intentions are serious, his ambitions are worthy, and his observations about human nature are particularly acute. These are surprising, beautiful plays, deserving of both readers and audiences.”

— Tony Kushner

[Gotanda] is a polemicist who sees both sides of a question, a writer whose grievances are balanced with a wicked sense of humor.”

— Frank Rich, The New York Times


Ben Makino

Ultimately, the glory of “The Love Potion” is Martin’s magnificent score, which Benjamin Makino conducted meticulously. Makino, consistently sensitive to the work’s exquisite timing and placement of dynamics and color, made the most of the composer’s subtle chamber orchestra textures.”

—Rick Schultz, The Los Angeles Times

“Benjamin Makino, a young conductor, had the most difficult job. He needed to make all these disparate parts feel part of the same unreal world. He succeeded.”

— Mark Swed, The Los Angeles Times


Paul Dresher

“…a remarkable musician and thinker… he is out there serving as both a lightning rod and seismograph for his colleagues … Dresher’s own Concerto for Violin and Electro-Acoustic Band…. is a serious and ambitious contribution to the concerto repertory…”

—Tim Page, The Washington Post

“Paul Dresher’s haunting score for string quartet is the most rewarding element of the new stage adaptation of the book at Berkeley Repertory Theater. By turns mournful, anxious and serene, and composed with an elegance that echoes the lapidary beauty of Woolf’s writing…”

— Charles Isherwood, The New York Times


Kwame Braun

Kwame Braun’s animations lend a blurry ambiance with floating flecks which could be anything from snow to dappled light to explosive sparks to flowers in a field to dust in a storm. The fanciful air that swirls around Charlie and Mary is crucial to showing the vastness of their feelings and their fate. “This is bigger than either of you!” the backdrop seems to murmur.”

— A.L Adams, Oregon Art

“The production makes ample use of video by Kwame Braun, with panels showing illustrator Jacob Stoltz’s comic-book versions of each of the characters. Narration boxes in the style of superhero comics link scenes taking place in completely different decades with humorous usage of “meanwhile.” There are also some delightful video scenes depicting Gloria Steinem and a Ms. Magazine staffer discussing Wonder Woman in the self-consciously cheesy style of a 1970s educational film.”

— Sam Hurwitt, Marin Independent Journal