local color

The franchise has included iterations set in Los Angeles, New Orleans, Hawaii and Sydney, each applying local color and flavor to a tried-and-true formula; some have come and gone, some have not been around long enough to go, but none is likely to display the staying power or global penetration of the original, about to embark Monday on its 22nd season.

Opera delivers a “Turandot” that does at least provide local color.

It reminds us that Puccini, who was always searching to endow his scores with “local color,” didn’t just compose exotic-seeming, faux-Asian tunes for his operas, but also sought out actual Asian examples.

That’s still a poor excuse for failing to develop other characters, including Amanda Brugel’s Sister Anne whose role amounts to little more than an expositional prop, and Bradley Whitford’s businessman, mainly there to add some local color to all the corruption.

This moody neo-noir is peppered with car chases and local color, though it’s primarily a character study, about a man forced by circumstance to confront the failures of his past.