“Two minutes with Rob Kapilow and reasons for the Seuss estate granting the composer the unprecedented rights to the story Green Eggs and Ham become abundantly clear: with his seemingly boundless energy and passion for promoting an appreciation of classical music the composer, also nicknamed the ‘Pied Piper of classical music,’ still marvels at his adaptation’s popularity with audiences.” — Big Apple Parent
“Adults will get a chance to hear what a gleefully sophisticated pastiche of modernism sounds like, and children, who might not understand the word ‘absurdist’ but have a natural affinity for the absurd, should feel right at home.” — Time Out New York
“The most popular ‘family music’ since Prokofiev’s Peter and the Wolf and Britten’s Young Person’s Guide to the Orchestra.” — Boston Globe
“Written in an engagingly sophisticated, quasi-Stravinskian musical idiom with no hint of pandering.” — Billboard
“Rob Kapilow’s Green Eggs and Ham, a merry, whiz-bang romp through the Dr. Seuss classic, is a winner — and for all the right reasons. Let’s dispense with circumspection. This piece is destined to go far ... Green Eggs and Ham dispenses entirely with the saccharine sentimentality that drips from so many kiddie scores. In its place, Kapilow offers a breath of fresh air — perky theater music, spiky, piquant modernism a la Stravinsky’s Petrouchka, silly quotes from pop and classics alike (in this piece, ‘Heart and Soul’ meets Chopin’s Funeral March), jazz bits, soul bits, you name it. Every time you turn around, Kapilow is pulling another rabbit out of another hat. And this piece moves, you know — it really moves. There’s so much going on that our intrepid little concert-goers have no time to get bored. It’s a measure of Kapilow’s expertise that the piece plays off major and minor seconds with abandon, yet the music never loses its atmosphere of slam-bam zaniness. Musically, the score stands up marvelously well — it’s clever and bright, there’s never a dull moment ... the piece is dynamite." — The Star-Ledger
“Kapilow’s music is a fluent production of the (Nadia) Boulangerie; the style is a brisk neo classical vacuum cleaner that can pick up anything it needs for its purposes, from children’s songs to folk songs, and other familiar tunes to jazz and blues ... He’s so entertaining ... and he talks so energetically that his voice cracks with the excitement of it all." — Boston Globe
