"Because I haven’t encountered too many operas that take place in prehistoric times, the thought of a chamber opera in which one soloist takes on the role of a meteor and the protagonist is named “Qfwfq” sounded pretty kinky. Based on a story by Italo Calvino (from his Cosmicomics collection) Without Colors explores what happens to a character’s love as the earth’s atmosphere forms, colors begin to replace the drab grays of its previous environment and the planet’s early inhabitants must adapt to a new world: a world with color.

While the philosophical debate triggered by Mac Wellman’s libretto may not send anyone staggering out of the theatre in an existential daze, I was thoroughly entranced by Melissa Shiflett’s score for cello, flute, piano and seven performers. Using simple but incredibly deft strokes, she created a musical environment for Without Colors which sounded acutely primordial yet highly theatrical. In a curious way, Shiflett accomplished something astounding by creating a musical theatre ambiance that allowed the audience’s imagination to fill in the blanks. Not an easy trick, but one that was crafted with great skill and sensitivity.

Without Colors is hardly the kind of opera which calls for bravura performances.  However, James McKeel’s Qfwfq, Kathryn Wright’s Ayl and Joan Barber’s Meteor offered nicely-etched cameos while Dan Dressen, Merle Fristad, Maria Jette and Cynthia Lohman provided a sense of balance as a chorus of, shall we say, prehistoric protozoa singing back-up."

- George Heymont, Bay Area Reporter/My Cultural Landscape