Thérèse Raquin has been adapted for the stage before—by Emile Zola himself, and by Harry Connick, Jr., among many others—but the opera being performed at the Boston University Theatre* feels like a movie. Domino players' arms are choreographed like stop-motion puppets and, all around them, the meticulous grime and uncanny colors look post-production. Tobias Picker's displaced film noir score is lush, often frantic, and always on the verge of shrieking—and when it finally does, at the murderous close of the first act, it never quite stops. more ›

