The morning after. Lucretia (Kelley O’Connor, kneeling) and Bianca (Margaret Lattimore,). Photo by Liza Voll.
Presented by Boston Lyric Opera Music by Benjamin Britten Libretto by Ronald Duncan After the play by Andre Obey Music direction by David Angus Stage direction by Sarna Lapine Dramaturgy by John Conklin Movement/intimacy direction by Yury Yanowsky
(Boston, MA) The Rape of Lucretia is about how a sexual assault turned into a war. It’s a timely message… But it’s always been a timely message. Women die at the hands of their abusers everyday. They will continue to do so until society values the lives of women as much as it does power. Boston Lyric Opera partners with Boston Area Rape Crisis Center and Casa Myrna to discuss Britten’s opera about rape and politics. Continue reading →
Acclaimed actress Paula Plum directs a cast of Boston-area singers and actors this week to explore the myth of Lucretia, the ancient Roman woman whose cruel sexual violation brought down an empire, and whose story has been retold for centuries by poets, playwrights and painters. The free public event, “Reclaiming Lucretia: Responding to Sexual Violence through Music, Poetry and Story,” takes place Thursday, February 7 at 6 pm at District Hall, 75 Northern Avenue in the Boston Seaport. RSVPs are encouraged at BLO.org/calendar.
“Reclaiming Lucretia” is produced by Boston Lyric Opera in advance of its production of Benjamin Britten’s masterpiece opera, “The Rape of Lucretia,” which runs March 11-17, 2019.
Plum helms a fascinating one-hour look at the Lucretia story through the Britten’s music, the poetry of William Shakespeare, and the words of contemporary sexual assault survivors. Plum weaves together song, spoken word and theatrical interpretation with a cast that includes: well-known Boston-area actors Aimee Doherty and Ed Hoopman; local singers Brianna Robinson (BLO’s newest Emerging Artist) and Jesse Darden (BLO’s first Principal Artist-in-Residence); returning mezzo-soprano Renee Tatum (seen in The Metropolitan Opera’s 2018 production of “Marnie” and as Jenny in BLO’s 2018 “The Threepenny Opera”); Longmeadow, Mass.-native and baritone David Tinerva; and pianist and Boston University lecturer Douglas Sumi.
The event is followed by an audience question-and-answer session with cast members, reflections from a representative of Boston Area Rape Crisis Center — which along with domestic violence support organization Casa Myrna is collaborating with BLO to bring context, support and contemporary perspective to content in “The Rape of Lucretia” — and a post-event reception.
Reclaiming Lucretia: Responding to Sexual Violence through Music, Poetry, and Story Thursday, February 7, 2019 | 6:00pm District Hall, 75 Northern Avenue, Boston Seaport Free; RSVPs encouraged
(Boston, MA) I enjoy myself most with adaptations of Shakespeare’s comedies when their sense of fun and lightness remain intact. The direction in Boston University Theatre’s production of Benjamin Britten’s A Midsummer Night’s Dream didn’t fail me. This vision is every bit the dream of the title. Fairies wear blue wigs and polka dot suits, columns of giant, white flowers are moved across the stage, Puck (Elizabeth Valenti) brings Queen Tytania (Maya Kherani) her morning tea, and King Oberon (Wee-Kiat Chia) smugly points out his wife slept with an enchanted donkey-man (Joseph Hubbard) the night before. One scene flows into the next elegantly. For the most part, it’s a perfectly realized vision. Continue reading →
Presented by the Isango Ensemble
Adapted and Directed by Mark Dornford-May
Music Arrangement by Mandisi Dyantyis
Music Directored by Pauline Malefane and Mandisi Dyantyis
Choreography by Lungelo Ngamlana
(Boston, MA) I don’t know about you, but A Midsummer Night’s Dream is one of those shows that I’ve seen so often it’s nearly lost all meaning. It might be a professional hazard: as a Shakespearean dramaturge/actor/fight director/scholar, Midsummer pops onto my project radar so frequently in so many different settings: it’s a favorite of high school drama clubs, regional Shakespeare theatres, and any company looking to do “Shakespeare with a twist”. Midsummer lends itself well to many different interpretations, and has enough zany, wacky antics to support a multitude of artistic styles and choices.Continue reading →