It doesn’t matter if you ever watched The Jerry Springer Show. I never did. It doesn’t matter if you loved The Jerry Springer Show. I never did. It simply doesn’t matter. In setting America’s grossest talk show to music, British composer Richard Thomas and his co-librettist Stewart Lee created something transcendent -- an opera that illuminates and somehow almost ennobles the show’s fans, the shows’ anti-fans and even the creepy show itself, to say nothing of its oleaginous host and, let’s face it, every single one of us sitting out there in the dark, if you care to look at us that way.
'Jerry Springer--The Opera:' Holy F-!
'Jerry Springer--The Opera:' Holy F-!
'Jerry Springer--The Opera:' Holy F-!
It doesn’t matter if you ever watched The Jerry Springer Show. I never did. It doesn’t matter if you loved The Jerry Springer Show. I never did. It simply doesn’t matter. In setting America’s grossest talk show to music, British composer Richard Thomas and his co-librettist Stewart Lee created something transcendent -- an opera that illuminates and somehow almost ennobles the show’s fans, the shows’ anti-fans and even the creepy show itself, to say nothing of its oleaginous host and, let’s face it, every single one of us sitting out there in the dark, if you care to look at us that way.