Kozinn calls out the excellence of some of the music. He and Midgette disagree about Michaels-Moore's Robert Crosbie:
- Michaels-Moore sang strongly but played a wimpy husband (Midgette)
- Anthony Michaels-Moore made Robert, Leslie’s husband, into an emotional volcano that seemed out of character for this quiet, self-effacing rubber planter. (Kozinn)
Downey mentions laughter at inappropriate moments. I noted down a bunch of these early in the opera; they definitely seem like misfires in the libretto.
I suspect that part of the reason I am so positive about the opera is that, really, it's so much better than the movie, and I saw them in close proximity. I found Racette's Leslie much more sympathetic than Davis's. I was sitting up in the mezzanine, not down on the floor, and for all I know it was more convincing at a distance.