ALCESTE

George Loomis, FInancial Times (London):

(*****5 stars out of 5******)

      "Brad Dalton's staging conveyed profound grief...Dalton poignantly shows Alcestis and Admetus reunited with their children, an outwardly happy scene fatally darkened by Alceste's knowledge of her underworld destiny."

Richard Dyer, The Boston Globe:

      "Brad Dalton's production moves this grave and beautiful opera out from under the shadow of historical importance as a diva vehicle and reveals it as thrilling musical theatre. Here Dalton produces personal, intelligent, and emotional work. The story and situation are pretty static, but he keeps the cast in constant, compelling motion."

Paul Walkowski, OperaOnlineUSA:

      "Brilliantly conceived and executed with some of the finest design, lighting, and stage direction one could hope for. It all elevated the performance to a feast for the eyes and ears."

T.J. Medrek, Boston Herald:

      "Director Brad Dalton fashioned a modern way to stage the opera that insulted neither the composer's craft nor the audience's intelligence. The stage direction smoothly complemented and illuminated the fervent solemnity of Gluck's miraculously pure and powerful score."

A STREETCAR NAMED DESIRE

William Spiegelman, Opera News:

      "Brad Dalton's staging assumed a starring role in the production. Psychological expressionism was the name of the game. The opera opens on a scene that mingles the Kowalski apartment, its French Quarter neighborhood, and the mental hospital to which Blanche is ultimately consigned. The concept was effective, as was the minimalist scenery and furniture."

David Gregson, Opera News:

      "Superbly directed by Brad Dalton. It moved at least this heart - one hitherto untouched by the work, even when the composer himself was wielding the baton in San Francisco."

Richard Morrison, The Times (London):

      "...a riveting performance with many memorable images, none more gripping than the rape, which was effectively staged as a frozen tableau under lurid red lights in director Brad Dalton's production."

Edward Seckerson, the London Independent:

    "In the final moments of the evening, Blanche takes the ghostly young man, the love of her life who proved so elusive, by the hand. Hell, I'm not so sure that staging's not better than the original."

Barry Millington, Evening Standard (London):

     "Brad Dalton's production made intelligent sense of a difficult space...'Streetcar' won't get better performances than this."

Daniel Cariaga, Los Angeles Times:

     "....the performance moved seamlessly through the drama's revelatory and inexorable progress."

Tim Page, The Washington Post:

     "...a consummate production."

Michael Barnes, The Austin Chronicle:

      "...a blazingly original take on an indelible classic. Dalton  and Yeargan felt liberated enough to deliver a 'Streetcar' unlike any seen before...a potent visual madhouse inhabited by potent performances."

Mike Greenberg, The Austin Express:

      "Design, stage direction, singing and acting merged into a seamless unity, all serving the theatrical point."

Charles Ward, The Houston Chronicle:

      "Dalton and his team kept the drama tightly focused, making a strong statement about both the musical strength of the opera and the vitality of its own artistic vision."

DEAD MAN WALKING

***Winner of the 2004 Helpmann Award for "Best Director of an Opera" in Australia***

John Slavin, The Age (Adelaide):

      "...the intensity of the drama dominated the evening."

Graham Strahle, The Australian:

    "It may have you in tears. There are moments of quiet emotional impact. Don't miss this deeply moving, unforgettable experience."

Louise Nunn, The Herald Sun (Melbourne):

     "'Dead Man Walking' is taking Adelaide by storm. Unfortunately, it will not be coming to Melbourne."

Ewart Shaw, The Advertiser (Adelaide):

      "...a theatrical triumph for the State Opera. Brad Dalton must be pleased with the way the Adelaide team has realized his vision."

Arna Eyers-White, DB Magazine (Adelaide):

     "It is rare in theatre for audiences to be as still as they were for this performance. This is opera at its most intense."

Il TROVATORE

Georgia Rowe, Mercury News:

      "This Verdi masterpiece made a long-awaited return to the San Francisco Opera House with a performance that glowed with dramatic fervor."

Paul Liberatore, The Marin Independent:

      "...a standard period piece would not have been as engaging and imaginative in conveying the nuances of Verdi's dark drama...not to be missed."

THE SPITFIRE GRILL

Everett Evans, The Houston Chronicle:

      "Director Brad Dalton has done an exceptional job with this astute and atmospheric staging. Sensitive to the meaning of the writing and the moods of the characters, his staging underscores the point of each scene and song. It's a richly rewarding experience. Don't miss it."

HAMLET

John O'Conner, The Harvard Crimson:

     "Brad Dalton's 'Hamlet' proves once again that he is a prince among directors, a total artist."

EQUUS

Mark Engels, The Harvard Crimson:

     "Brad Dalton's production has lost none of the intensity of the original Broadway production [directed by John Dexter]."