'The great strength of 'The Factotum' is its score, a lush soundscape conducted by Kedrick Armstrong that feels entirely like the undergirding of a great American city but allows for individual musical vulnerability,' writes Tribune critic ChrisJonesTrib.
Will Liverman and company in the world premiere production of"Factotum" by Lyric Opera of Chicago at the Harris Theater.
Nor have digital imprints of CTA buses scooching their way down the streets of the South Side, their quotidian journeys acting as a frame for arias from the citizenry about Michael Jordan, unwelcome police interactions, songs of hope, family obligation and fear of the future. Then again, the Lyric has never previously premiered anything quite like “The Factotum,” the new opera from Will Liverman and DJ King Rico, which opened Friday to a rapturous response at the sold-out Harris Theatre.
It does not do so in a vacuum: many classical radio stations, seeking more diverse listeners, similarly have mixed up their playlists, and opera companies globally have finally figured out that they’ve underestimated their collective obligation to the contemporary repertoire. And, let’s not forget, this work, cocreated by an enigmatic, sampling DJ, is set in Chicago and fueled by the proud history of the tonsorial emporia of the South Side. As such, it’s a civic statement by the Lyric, an organization finally embracingThe great strength of “The Factotum” is its score, a lush soundscape conducted by Kedrick Armstrong that feels entirely like the undergirding of a great American city but allows for individual musical vulnerability.
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