Ted Huffman

Les mamelles de Tirésias

Court, efficace et impeccable. Arrivant à Bruxelles après les festivals d’Aldeburgh et d’Aix-en-Provence, la production des “Mamelles de Tirésias” qu’a donnée la Monnaie ce week-end en sa salle Malibran fut une réussite de tous points de vue…Mais le prix de ce spectacle vient aussi et surtout de la magnifique mise en scène de Ted Huffman. A la Grand-Place de Zanzibar imaginée par Poulenc, le jeune Américain préfère un café français des années 40, tenu par Thérèse et son mari. Il y a un grand bar sur roulette en mouvement perpétuel, il y a des globes lumineux et des ballons (qui seront, forcément, les célèbres mamelles), il y a les chorégraphies de Zack Winokur et il y a les superbes éclairages de Marcus Doshi. De quoi créer, dans une ambiance stylisée de comédie musicale à l’ancienne, une énergie communicative qui fait merveille.

Nicolas Blanmont, La Libre (January 20, 2014)

Face à une troupe de chanteurs largement inexpérimentés, le metteur en scène Ted Huffman n’a pas cherché la facilité : interprétant avec beaucoup de liberté les indications de mise en scène proposées par Poulenc, il situe l’action dans le décor unique d’un café avec son comptoir et demande à ses jeunes recrues un investissement scénique de tous les instants, les faisant bouger, danser et sauter dans tous les sens, occupant l’espace dans un joyeux désordre organisé où le burlesque le plus déjanté le dispute aux références cinématographiques du cinéma américain de l’immédiat après guerre, pour la plus grande joie des spectateurs. Inspiré, maîtrisé, virtuose, le spectacle est franchement réussi, en tous cas dans sa dimension visuelle.

Claude Jottrand, Forum Opera (January 21, 2014)

L’extrême liberté de ton d’Apollinaire, une action qui part dans tous les sens à tout moment, un argument de départ centré sur la volonté de changement (ici de sexe), ces quelques traits de folie présentent de réelles connexions avec l’effervescence du mouvement surréaliste. Les solutions trouvées par le metteur en scène britannique Ted Huffman pour renouveler chaque instant de la farce sont aussi foisonnantes que s’il s’agissait d’un spectacle de cirque. Intelligence, humour, habileté, chaque geste a été étudié de sorte à ne jamais laisser les chanteurs inoccupés, ou traverser un creux. Et comme ils se donnent à fond…De même que le public qui a fait une ovation à ce spectacle qui prélude un peu au carnaval.

Philippe Dewolf, MUSIQ 3 (January 17, 2014)

Faites-vous plaisir, ce soir et ce week-end, avec la petite bulle d’humour et de légèreté que propose la Monnaie…Le metteur en scène sculpte une enfilade de tableaux autour d’un unique élément de décor – un long comptoir qu’il déplace à volonté pour libérer le « dance floor ». S’y agglutinent les chanteurs dans des compositions picturales que n’aurait pas reniées Poulenc (qui aimait autant la peinture que la littérature) et qui font référence aux comédies musicales des années ’40 de la Metro-Goldwyn-Mayer…En guise de réconciliation des sexes, le spectacle s’achève par une inévitable scène de débauche, mais sans s’y attarder, conservant intacte la parfaite légèreté de l’ensemble. Le bonheur!

Xavier Flament, L'Echo (January 17, 2014)

Rythmée, ciselée et gentiment irrévérencieuse, la mise en scène de Ted Huffman revendique le burlesque des anciennes comédies musicales…Ce petit spectacle à l’humour fin constitue un véritable antidote à la morosité ambiante. On en reprendrait volontiers une dose.

Sébastien Foucart, ConcertoNet (January 22, 2014)

Director Ted Huffman chose to set the piece in a café of the mythical Riviera town and with the sense of a 1940s movie musical and Samal Blak’s sharp, stylish design achieved this admirably…the performance bristled with energy and elan, roles and costumes interchanging seamlessly…The sharp, astringent edge that is such a characteristic and attractive feature of Poulenc’s music was gloriously captured…For one hour the mist and rain swirling round the hall were forgotten in a joyous outpouring of musical theatre. An excellent performance of an all-too-rarely heard work.

Gareth Jones, Ipswich Star (January 07 2014)

A marvellous and entertaining production…directed with great flair, imagination and skill by Ted Huffman, an American stage director…

Tony Cooper, East Anglian Daily Times (January 08 2014)

Hydrogen Jukebox

I don’t know if I’ve ever seen anything as completely original on a major Milwaukee stage as the weird and wonderful Hydrogen Jukebox...the Skylight production defies expectations from its opening bass thrum to its powerfully simple finale.

Paul Kosidowski, Milwaukee Magazine (March 16, 2014)

Wow. Just wow. That’s how I still feel days after catching the opera Hydrogen Jukebox at the Skylight Music Theatre.

Matthew Reddin, Third Coast Daily (March 19, 2014)

Under the direction of Ted Huffman, all of the show’s elements work harmoniously to create a memorable and unique experience not seen previously in Milwaukee (at least, not on this large a scale).

Anne Siegel, Total Theater (March 2014)

a captivating production to be remembered by Milwaukee audiences…travels the road of endless theatrical imagination.

Peggy Sue Dunigan, Broadway World (March 17, 2014)

there is not a cliché, poetic or musical, to be found; it’s always alive, fresh, and raw.

Jeff Grygny, The Milwaukee Examiner (March 18, 2014)

La cambiale di matrimonio (Concert Staging)

an uproarious and beautifully sung performance…as ebulliently engaging as anyone could wish. With Music Director Nicholas McGegan leading a crisply paced performance and director Ted Huffman making deft use of the tiny performance space, this was a stretch of unalloyed delight.

Joshua Kosman, San Francisco Chronicle (April 16, 2015)

an utterly delightful performance…Shown off in an expertly minimal staging (by director Ted Huffman)

Steven Winn, San Francisco Classical Voice (April 20, 2015)

Nicholas McGegan led the orchestra and singers in a brisk reading of this engaging farce, which enjoyed an uproarious staging by director Ted Huffman.

James Roy MacBean, The Berkeley Daily Planet (April 20, 2015)

Ted Huffman’s skeletel but stylish staging let Gaetano Rossi’s comic libretto bloom.

Allan Ulrich, The Financial Times (April 21, 2015)

Eugene Onegin

Ted Huffman’s staging is a hand-crafted masterpiece. Carefully thought through to the smallest detail and full of imagination with seemingly little effort.

Marion Eigl, Der Kurier (October 6, 2014)

the simple and beautiful production of Ted Huffman….

Stefan Ender, Der Standard (October 7, 2014)

La Calisto

Ted Huffman’s direction was unfailingly inventive and often uproariously funny.

Joe Law, Opera News (October 2014)

Cincinnati Opera’s superb production of Cavalli’s antic creation perfectly balances the story’s randy and rambunctious elements with the delicate portions that dot it…The stage direction by Ted Huffman is sure-footed and impeccably stylish.

Rafael de Acha, Seen and Heard International (July 23, 2014)

Don’t walk. Run to catch the remaining performances of La Calisto. Ted Huffman’s staging is witty and occasionally wild…It’s heavenly.

Anne Arenstein, Cincinnati City Beat (July 22, 2014)

La Calisto was one of the most enjoyable productions in recent seasons at Cincinnati Opera.

Mary Ellyn Hutton, Music in Cincinnati (July 21, 2014)

The Soldier’s Tale

Der Kaiser von Atlantis

In a word, superb…crisp and creative stage direction by Ted Huffman…

Jerome Sehulster, Stamford Advocate (June 14 2009)

at once absurd, grotesque, and brilliant…

Linda Phillips, Greenwich Citizen (June 16 2009)

impressively mounted, visually memorable and well-sung staging by Ted Huffman…Deserved standing ovations greeted the committed team of artists.

David Shengold, Opera News (September 2009)

This production, engagingly directed by Ted Huffman, beautifully caught the spirit of the original conception.

Eric Myers, Opera (November 2009)

Galileo Galilei

The staging by Ted Huffman was superbly handled, with an ease and flow that made for a truly engrossing tale.

Mary Ellyn Hutton, Music In Cincinnati (July 12, 2013)

There are no chorus, ballet sequences, large sets and mercifully, none of the grandstanding that usually passes for acting on many operatic stages—certainly not in this fine production directed by Ted Huffman…visually arresting and dramatically cohesive.

Rafael de Acha, Seen and Heard International (July 23 2013)

Most of the Boys

Alice In Wonderland

Die Dreigroschenoper (Concert Staging)

Ted Huffman’s semi-staging was deftness itself.

Paul Driver, The Sunday Times (February 28 2013)

Vladimir Jurowski conducted The Threepenny Opera in a simple but edgy semi-staging by Ted Huffman that allowed Brecht’s commentaries on monetarism, racism and sexuality to hit home with tremendous force.

Tim Ashley, The Guardian (February 28 2013)

Ted Huffman’s crisp stage direction replaced the dialogue with Brecht’s own sardonic linking narration (delivered with brilliant impassiveness by Max Hopp) and added a few extra witty touches of Brechtian alienation.

Richard Morrison, The Times (March 03 2013)

Weill’s sour-sweet orchestrations registered vividly in Ted Huffman’s icily stylised semi-staging.

Anna Picard, The Independent (March 09 2013)

Giasone

ETO’s well-sung production, sensitively conducted by Joseph McHardy and intelligently directed by Ted Huffman, gives much pleasure.

Rupert Christiansen, The Telegraph (October 11, 2013)

the drama never flags for an instant…

Michael Church, The Independent (October 7, 2013)

the almost Shakespearian collisions between comedy and intensity prove remarkably compelling.

Tim Ashley, The Guardian (October 6, 2013)

The darkest arias have raw intensity, with the dazzling, comic elements providing levity, compounding rather than undermining the emotions expressed. The reunion of Jason and his wronged but faithful wife Isiphile unfolds with potent dignity…The impact was indelible.

Fiona Maddocks, The Observer (October 13, 2013)

It’s done exceptionally well: everything – lyrics, music, humor and action – moves seamlessly.

Jaime Robles, Bachtrack (October 7, 2013)

I was gripped by Ted Huffman’s production, which tells the story simply with the focus squarely on the acting and musical expression - and amazingly nothing feels far fetched or over done, however extreme the situation.

Capriccio Music, (October 12, 2013)

...particularly well staged…

Roger Jones, Seen and Heard International (October 27, 2013)

The Lighthouse

Overall it is a very satisfying piece of theatre which this production (designed by Neil Irish and directed by Ted Huffman) gets the absolute best out of.

Kimon Daltas, The Arts Desk (October 12 2012)

English Touring Opera’s pitch-perfect production doesn’t drop the easy catch, and the director Ted Huffman has drawn sensitive portrayals of the imploding keepers ...this is a truly gripping yarn, and it’s not often one can say that of an opera.

Rupert Christiansen, The Daily Telegraph (October 12 2012)

Both Huffman’s staging and Richard Baker’s conducting are excellent, equal in precision…

Mark Berry, Seen and Heard International (October 12 2012)

Ted Huffman’s magnificently intense period setting…You will rarely experience a more compelling and affecting night at the opera than this. Don’t miss it.

Graham Rogers, The Stage (October 12 2012)

If I have not yet drawn attention to Ted Huffman’s sweetly paced production, that is because it does not draw attention to itself. Unshowy yet never less than thrilling, the American director’s stagecraft somehow manages to be restrained and explosive at the same time. As a masterly staging of a great opera it deserves the widest possible audience. Do catch it on its travels: it’ll lift you up and leave you drained.

Mark Valencia, Classical Source (October 13 2012)

Ted Huffman’s new production only enhances the taut, free-flowing storytelling…Every minute is utterly riveting.

, Intermezzo (October 14 2012)

This touring version of Peter Maxwell Davies’s chamber opera conjures dark magic with utmost skill.

Richard Fairman, Financial Times (October 15 2012)

the stage effectively drew spectators into the claustrophobic world of this maritime signal tower…exquisitely managed, and provoked an ecstatic reaction from the audience.

Ninfea Cruttwell-Reade, Bachtrack (October 15 2012)

Huffman wisely keeps things simple, allowing the spare elegance of the score to do its work, while establishing some neat visual tensions…it’s a show that will haunt you well beyond its brief 80-minute span.

Alexandra Coghlan, The New Statesman (October 16 2012)

[Maxwell Davies] chose to attend both performances and was clearly delighted with the interpretation…English Touring Opera have done it justice with this engaging production…The director, Ted Huffman does an excellent job in getting his three protagonists to act with great intensity…

Miranda Jackson, Opera Britannia (October 17 2012)

Ted Huffman’s gripping staging of this chilling opera…

Hugh Canning, The Sunday Times (October 28 2012)

Director Ted Huffman and Richard Baker conducting the Aurora Orchestra deliver an engaging and thought-provoking performance of this intriguing opera.

Catriona Graham, The Opera Critic (October 29 2012)

Hänsel und Gretel

La Bohème

Director Ted Huffman and his cast lay bare the opera’s beating heart by focusing on the emotional truth of the characters and their world…It was breathtaking.

Chip Chandler, Amarillo Globe-News (October 2, 2011)

Merola Grand Finale

Among my umpteen Merola Program closing concerts — all memorable in various ways — Saturday’s was one of the most enjoyable. Programmed, directed, and performed with care and effectiveness, this was what opera doesn’t always manage to be: delightful entertainment. Directing the quasi-staged evening was one of the program’s apprentice stage directors, Ted Huffman, a young artist who will go far.

Janos Gereben, San Francisco Classical Voice (August 21 2010)

The three-hour showcase, conducted by Dean Williamson and directed with winning tact by Ted Huffman, turned a revealing light on the 25 young artists in this year’s crop.

Joshua Kosman, San Francisco Chronicle (August 23 2010)

La voix humaine

Huffman embraced the minimalism of the opera and used it as a metaphor for the isolation inherent to the piece. All told, it made for some appropriately haunting stage pictures and brought a visceral freshness to the work.

Olivia Giovetti, WQXR (June 11, 2011)

emotionally riveting, poignant, and ultimately heartbreaking..The audience erupted in bravos for this marvelous performance.

Linda Phillips, Greenwich Citizen (June 24, 2011)

El Cimarrón

visually striking, emotionally resonant…

David Shengold, Time Out NY (June 10 2010)

This production is a shining beacon of minimalism…

Valmont, Parterre Box (June 10 2010)

the enthusiastic reception awarded Ted Huffman’s excellent new production of the work demonstrated the open-minded attitude and artistic freedom often denied Mr. Henze, 83… a compelling musical and theatrical experience, especially in this tightly wrought production.

Vivien Schweitzer, New York Times (June 11 2010)

The performance was greatly enhanced by the work of directors Ted Huffman and Zack Winokur…

Arlo McKinnon, Opera News (September 2010)

Il ritorno d’Ulisse in patria