Pomegranate premiere

Last night Pomegranate; music by Kye Marshall, words by Amanda Hale, opened at Buddies in Bad Times.  Inspired by the Villa of Mysteries in Pompeii, it tells the story of two lesbian lovers.  Cass has broken up with Suzy in 1980s Toronto.  She visits Pompeii as a tourist and is carried back in time to meet her lover in a previous incarnation in the Temple of Isis.  There’s a whole act dealing with the Mysteries, Cassia and Suli’s burgeoning relationship and the attempt by the Roman state to suppress the religion.  Then Vesuvius erupts.  Fast forward to Act 2 in a lesbian bar in Toronto.  Suzy, an immigrant from some unspecified war zone is pressured by her family to break up with Cass.  There’s a slightly surreal byt dramatically satisfying epilogue where modern Cass reunites with Roman Sulli in the ruins of Pompeii.

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Pomegranate

There’s been a lot of new opera in Toronto at the moment and a lot of it has had either an Indigenous or a Queer angle; likely reflecting funding bodies trying to encourage diversity of various types.  The latest one to come my way is Pomegranate which will play at Buddies in Bad Times from June 5th to 9th.  It’s a lesbian chamber opera from librettist Amanda Hale and composer Kye Marshall and it’s a first opera for both of them.

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Pandora; an “out of the box” opera/ballet

FAWN_spring_INSTA_v003FAWN Chamber Creative and its artistic director Amanda Smith see themselves as pioneers.  They champion inter-disciplinary works that don’t fit easily into any taxonomy of music, theatre or dance styles.  Their latest venture; Pandora, an “opera/ballet” on a classical theme, might seem straight from the court of Louis XIV but Lully likely wouldn’t have scored it for drums, a piano, an electric guitar, a cello, a bassoon and electronics.  The Sun King would likely also be somewhat taken aback by Jenn Nichol’s choreography; her long association with Opera Atelier notwithstanding.

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Democracy in Action

Tongue in Cheek’s latest show, Democracy in Action, took place at the Lula Lounge last night.  The concept was pretty straightforward.  There were eight (almost) singers and a pianist.  Each singer offered up five numbers ranging from opera through art song to musical theatre and pop.  Advanced on-line polling had selected one song per singer.  Polling of the audience in the house produced the other two.  The in house polling was supported by really rather well done videos in which the “composers” tried to persuade the audience to vote for their stuff.

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Trying on The Overcoat

New comic operas are rare.  New comic operas that are actually funny are vanishingly rare.  The Overcoat: A Musical Tailoring is such a beast.  It’s a new piece with music by James Rolfe and a libretto by Morris Panych derived from his twenty year old stage adaptation of Gogol’s short story.  Originally commissioned by Tapestry Opera, the Toronto staging was under the joint auspices of that company and Canadian Stage with the work also to be staged by co-producer Vancouver Opera as part of their summer festival.

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Whose wearing the Overcoat?

Casting has now been announced for The Overcoat: A Musical Tailoring; an opera by Morris Panych and James Rolfe based on Gogol’s short story by way of Panych’s 1990s theatrical version.  The opera is a co-production of Vancouver Opera, Tapestry Opera and Canadian Stage and will premiere in Toronto’s Bluma Appel Theatre (March 29th to April 14th) before heading to the Vancouver Playhouse (April 28th to May 12th).

Geoffrey Sirett as Akakiy in The Overcoat A Musical Tailoring_Photo Credit Dahlia Katz_preview

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There must be more money

Rocking Horse Winner; music by Gareth Williams and libretto by Anna Chatterton, opened last night at the Berkeley Street Theatre.  It’s based on the short story by DH Lawrence and is a co-commission of Tapestry Opera and Scottish Opera.  There are some changes from the original story.  Here Paul is a developmentally challenged adult (on the autism spectrum) rather than a child.  The gardener is replaced by his personal care worker who moonlights as a caller at the local racetrack.  This has a couple of advantages.  It provides something of a rationale for Paul hearing the “voice” of the house and for his apparently inexplicable intuition about race winners and it also means that Paul can be cast as a tenor rather than having to make an awkward choice between a boy soprano or a pants role.  As Paul is one of, perhaps the main, character, this simplifies casting considerably.  The work is also gently updated.  So gently in fact that it’s barely perceptible.

RHW-L to R, top to bottom Keith Klassen as Oscar, Peter McGillivray as Bassett, Asitha Tennekoon,, Stephane Mayer, Aaron Durand, Sean Clark, Elaina Moreau, Erica Iris

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