LOSING SIGHT (working title) explores a horrific act of violence, a child who can heal, and a general on the brink of history.

Losing Sight is generated under the auspices of Rocketship Theatre and the Emerging Artists Residency at The Field, and is presented along with other original works at The Kitchen Performance Space in Manhattan.

Adaptation, Music and Lyrics: Peter Ekstrom
Stage Director: Chuck Hudson
Music Director: Eric Walton

Recital staging by Chuck Hudson
Music Director: Deborah Simpkin King

Chuck Hudson’s strong and crisp direction gave much dramatic heft to the work’s tragic moments and comic brilliance to lighthearted ones…Hudson’s stage direction was masterly in the tricky second act where crowds gather in the Latin Quarter. Here the stage is populated with chorus and supernumeraries, but never does it seem cramped or the actions artificial. Edward Ortiz, Sacramento Bee.

Read the whole article in the Sacramento Bee

Stage Director Chuck Hudson did an excellent job of staging La Bohème. The action moved fluidly and naturally…the final scene was particularly well staged, and the closing tableau is an image that will long stay with me. James E. Roberts, Gold Country Times

Photos by Eleakis

Inventive staging by Chuck Hudson and a solid performance combined to create a magical evening…Hudson’s staging was highlighted by the magical dream garden created by the fairies and sprites using large green fans and constantly rearranging themselves for the sensuously beautiful duet of Cendrillon and her Prince. Charles H. Parsons, OPERA NEWS

IU opera offers appealing take on Cinderella story: Treats for eyes and ears are plentiful…Guest stage director Chuck Hudson has managed to maneuver all the soloists and groupings, the adult and children’s choruses and dancers through their escapades. They all remain comfortably stage-bound, save for the Fairy Godmother who is privileged to float in from on high. Peter Jacobi, Bloomington Herald-Times

Guest stage director Chuck Hudson’s … staging is clearly an organic part of the overall design. His blocking is clear and direct in many of the dramatic scenes and has a fittingly whimsical complexity in the more involved mystical parts of “Cendrillon.” …There’s a great scene in which the step mother has the daughters proudly unroll thirty or forty feet of a family tree that includes quite a catalog of various worthies and even a few appropriately royal mistresses. David Wood, WIFU Radio Online

Archived live stream of Cendrillon.

Opera Cleveland serves up a hearty and graceful “Hansel and Gretel”. Chuck Hudson’s fluid staging kept the events moving blissfully along, with fine attention to characterization and atmosphere…the inventive episode during the pantomime featuring Hansel and Gretel’s deceased mother (danced by Lisa L. Lock) added psychological resonance. Donald Rosenberg, Plain Dealer Reporter

Choices for memorable classical performances in Cleveland this year–Opera Cleveland: The company began its second season with a new artistic director, Dean Williamson, who already has raised vocal, orchestral and production standards. A challenging economic road lies ahead for the organization, but its 2008 productions suggested that artistic stability is in place. D.R.

‘Hansel and Gretel’ ‘fine production’ : Director Chuck Hudson and conductor Dean Williamson do an excellent job with the opera…Although much of the show is directed to children, the story has adult themes. Hudson and Williamson succeed in offering a fine production to both children and adults. David Ritchey, West Side Leader

A director less skilled and disciplined than Chuck Hudson might have encouraged excessive punching of some lines, even supported an actor’s inclination to go over the top. Not Mr. Hudson. Instead both he and the cast of four (who divvy up portraying 19 characters) respect the creative machinations of the playwright’s mind. Donna Baily-Thompson, In The Spotlight

Chuck Hudson, directing all of this, has created both comic and touching moments for his cast
to work through as they develop each small mystery. Peter Bergman, The Advocate

This endearing show is just the ticket for escaping…to a world where a kiss is not just still a kiss,
but a life changing big deal. Elyse Sommer, curtainup.com

Received a National Opera Association award.

‘La Bohème’ plays up drama…Hudson’s quest for meaning goes beyond words “to make the invisible visible.” Mary Ellen Hutton, Cincinnati Enquirer

Daring ‘Turn of the Screw’ thrills with a fine cast: In the Sacramento Opera’s deeply engaging and highly provocative production of Benjamin Britten’s “The Turn of the Screw,” sexual awakening is the dramatic fuse that sets the drama on fire…Chuck Hudson’s crisp and erotically veiled direction is filled with just the right fervor of caged sexuality. In this production, the housekeeper has unrealized sexual desires of her own that are directed toward the governess. All this seething ethereal erotica makes you wonder what’s in the drinking water in this country estate. Edward Ortiz, Sacramento Bee

Imagine Benjamin Britten’s “The Turn of the Screw” in a spirited, flawless performance, a splendidly cast, convincingly directed, spectacularly sung and played production…(Quint’s) ghostly evil character (in Chuck Hudson’s self-effacing and clearly communicating direction) received equally deserved bravos and hisses. Director and singer are both special in their ability and willingness to disappear in their work. There is no Regietheater or star in Sacramento, “only” good direction and great performance. Janos Gereben, San Francisco Classical Voice

Sac Opera’s production (of Turn of the Screw) was elegantly staged and shrewdly interpreted by director Chuck Hudson, whose program note rightly observes the Hitchcockian overtones of the material–which “seduces as well as repulses the audience by what is left unsaid.” Highly skilled, increasingly kinky, unabashedly creepy. Jonathan Kiefer, Sacramento News and Reviews