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Vera Vegas Tags Casino. Vera Vegas Teen Patti Cash 3. MyID 1. FaceApp 4. Infinity Ops 1. Taco, a forty-five-year-old man, originally from Northern Ireland, illegally living in the Bronx and driving a cab, is in an interrogation center somewhere in Northern Ireland.
Two heavies, Trench and Trilby, take turns slapping him around. As he slips into unconsciousness the sound of his own breathing, the blood rushing in his ears, and an airplane landing announce his dream's beginning: he dreams that he and his friend Dumdum Devine also forty-five and living illegally in the Bronx, where he tends bar have just arrived in Las Vegas.
They are between planes. Doll Common, a forty-five-year-old woman, formerly a blackjack dealer, now an undercover agent for the Immigration and Naturalization Service, is costumed as a stewardess.
She invites them to meet her pal, Vera Loman. She could be "your Girl Friday, or more," she teases. Taco and Dumdum meet Vera at the Forum Shops.
Trench and Trilby shadow them. Doll suggests they go to a casino called the Hippolyta. Dealers sing about their customers.
Vera wins big at the slots. We learn back stories—especially Vera's: Trench and Trilby may have been sent by one of her assignations, a corrupt judge she's suing for aggravated assault.
The four slip off to a stripper bar called the Delphine. Taco and Vera slip off as the strippers sing of their lot.
He returns, rattled: Vera's not what she seemed. The two couples head for a wedding chapel to make it official. Trench and Trilby lurk.
A canned chorus sings bromides. Vera sings a torch song about her past. Vera proclaims that she has a solution.
That will scare them off. Taco, just as he is about to plight his troth to Vera, slumps to his knees. Seconds later, he is back in Northern Ireland.
He confesses to a grisly assassination. Vera wails into the night, "Where's my Taco Bell? In an interview with John Clare, Hagen described the opera's score as "[Walking] the fine line between pastiche and inspiration.
It is meant to sound as though the music is wildly postmodern, even self-indulgently "out of control.
If Muldoon's tone can seem cool, then Hagen's music can turn up the heat; if Muldoon's words sometimes distract us with their dazzle, Hagen's passionate sounds magnify the human element.
The intentionally Technicolor, superficially-tawdry, seemingly raw, decadent musical eclecticism runs in febrile counterpoint to the libretto's verbal flights.
Or, again, what seems to be a runaway train. He has a gift for pastiche and musical surrealism as well as a distinctive voice for moments where words and music coincide.
The idiom is very much "Broadway", with references to many kinds of pop music, handled masterfully.
The music is tuneful and rhythmically sophisticated, the words set clearly. Much of the music comes in short bursts of a phrase or two which almost interrupt each other in rapid succession, except for two long arias, one for Doll and one for Vera, which are quite successful in projecting a long lyric line.
Altogether the opera is a musical tour de force.