Of the previous nine, four won the Chicago theater award for Best Play, and five were directed by Robert Falls, the artistic director of the Goodman up until this week. Fleming promises 'Anything You Can Do (I Can Do Better).'Ĭareful tabulation reveals that Rebecca Gilman here marks 10 plays produced at the Goodman Theatre, a figure achieved previously only by the likes of August Wilson, Mary Zimmerman (depending how you count her adaptations), William Shakespeare and a few other candidates. But there is a second half to Saturday’s concert, a string of Broadway classics for her and Gilfry, both occasional crossovers. Her most recent in-person performance here was in early 2019, and her most recent opera 2015. The result has been booked by 14 orchestras, Fleming says, and the staging with projections of O’Keeffe’s art and Stieglitz’s photographs-some of them intimate shots of O’Keeffe-has picked up strong reviews in its first performances.įleming’s hand, previously detectable in Lyric standouts such as the commission “Bel Canto” and The Second City collaborations, also motivates the upcoming triptych of new operas 'Proximity' this winter, as well as in the staged premiere of 'The Hours' (also by Puts) at New York’s Metropolitan Opera next month.įleming's voice will stay a rarer treat for Chicago audiences. “People writing letters to each other,” Fleming says, “it’s wonderful to remember what that was like-that you would take more care that it was poetic, that it was artistic.”įleming suggested to Puts that he expand the piece with Stieglitz’s voice, sung by Gilfry.

Some of the letters excerpted in the work were written to O'Keefe's husband, photographer Alfred Stieglitz, but Stieglitz’s replies, flowery and effusive, didn’t figure into the original piece.

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