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Home , Alexander Lewis (actor), Amaluna, Calder Quartet, Complicite, Crossing (opera), Diane Paulus

2017 BAM Next Wave Festival #BAMNextWave

Brooklyn Academy of

Adam E. Max, Katy Clark, Chairman of the Board President

William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer

BAM presents

American Repertory Theater In association with Music- Group Composed, written, and conducted by Matthew Aucoin Directed by Diane Paulus

BAM Howard Gilman House Oct 3, 5 & 7 at 7:30pm; Oct 8 at 3pm

Running time: approx. one hour & 40 minutes, no intermission

Choreography by Jill Johnson Set design by Tom Pye Costume design by David Zinn Lighting by Jennifer Tipton Projection design by Sound designer Samuel Lerner Associate director Andrew Eggert Featuring chamber A Far Cry Season Sponsor:

Major support for Crossing provided by Robert L. Turner.

Leadership support for opera at BAM provided by: Aashish & Dinyar Devitre The Andrew W. Mellon Foundation

Support for the Signature Artist Series provided by the Howard Gilman Foundation.

Major support for opera at BAM provided by: The Francena T. Harrison Foundation Trust Sarah Billinghurst & Howard Solomon CROSSING

CAST Rod Gilfry John Wormley Alexander Lewis Freddie Stowers Davóne Tines Messenger

Ensemble Hadleigh Adams, Sean Christensen, , Frank Kelley, Michael Kelly, Ben Lowe, Matthew Patrick Morris, Daniel Neer, James Onstad, Jorell Williams, Gregory Zavracky Dancers Christina Dooling, Jehbreal Jackson, Jeff Sykes, Karell Williams Covers Hadleigh Adams (Walt Whitman), Sean Christensen (John Wormley)

A FAR CRY 1—Alex Fortes (concertmaster), Melissa White, Sonya Chung, Jae Cosmos Lee, Charles Dimmick Violin 2—Megumi Stohs Lewis, Jesse Irons, Andrew Eng, Angelia Cho Viola—Jason Fisher, Sarah Darling, Frank Shaw, Hollander Ames —Michael Unterman, Karen Ouzounian, Jacques Lee Wood —Kris Saebo, Randy Zigler /Piccolo—Rachel Braude, Vanessa Holroyd —Michelle Farah, Miri Kudo —Rane Moore, Christa van Alstine —Brad Balliett, Erik Höltje (+contra) —Jean Laurenz, Kate Amrine —Richard Harris Horn—Hazel Dean Davis, Nick Auer Percussion—Nick Tolle, Dylan Greene, Bill Solomon —Adam Nielsen

Crossing was inspired by the poetry and prose of Walt Whitman.

ADDITIONAL CREDITS Rehearsal pianist Adam Nielsen Stage manager Carolyn Rae Boyd

Produced and commissioned by American Repertory Theater at in association with Music-Theatre Group.

The American Repertory Theater—Diane Paulus, Terrie and Bradley Bloom Artistic Director; Diane Borger, Executive Producer Music-Theatre Group—Diane Wondisford, Producing Director

Crossing was commissioned through the generous support of Catherine and Paul Buttenwieser. This production of Crossing was made possible through the extraordinary support of Betsy and Edward Cohen.

Special thanks to Jody and Thomas Gill, Lizbeth and George Krupp, and Alison and Bob Murchison for their leadership gifts in support of the opera. Who’sCROSSING Who

Rod Gilfry Alexander Lewis Davóne Tines Jennifer Zetlan

Hadleigh Adams Sean Christensen Christina Dooling William Goforth

Jehbreal Jackson Frank Kelley Michael Kelly Ben Lowe

Matthew Patrick Morris Daniel Neer James Onstad Jeff Sykes

Jorell Williams Karell Williams Gregory Zavracky Photo: Yannick Grandmont The musiciansemployedinthisproduction aremembersoftheAmericanFederation ofMusicians. representsthedesignersandscenic paintersfortheAmericanTheatre. United ScenicArtists a nationaltheatricallaborunion. The DirectorisamemberoftheSTAGE DIRECTORSANDCHOREOGRAPHERSSOCIETY, in theUnitedStates. of Actors’EquityAssociation, theunionofprofessionalactorsandstagemanagers The actorsandstagemanagersemployedinthisproductionaremembers Poetry; PhilipRothman; StephenZinner, M.D.;Russell Nauta,M.D. W. CuratoroftheHenry A.BergCollectionofEnglishandAmerican M.D.; IsaacGerwitz, andAlbert Festival; VirginiaSymphonyOrchestra;PhillipBauman, ComposersInstituteattheVirginiaArts Duffy Brian Zeger; atTheJuilliardSchool;John TheEllenandJamesS.MarcusInstituteforVocal Arts SPECIAL THANKS By arrangementwithG.Schirmer, Inc.,Publisher andcopyrightowner Producing director, Music-Theatre GroupDianeWondisford Dramaturgy JuliaBumke,RyanMcKittrickBrennaNicely Company managerRyanSweeney Line producerforCrossingMadeleineFoster Bersin producerMarkLunsford Artistic Executive producerDianeBorger Costumes staffCarsonEddy JeannetteHawley Costumes supervisor Technical directorChrisSwetcky Production assistantEmilyDeNardo Production managerJeremieLozier Orchestra managerJasonFisher Associate conductorDanielaCandillari Dialect coachDawn-ElinFraser Projections programmerMatthewHoustle Projections associateAshWoodword Assistant stagemanagerKate Guthrie Assistant choreographerTercell Waters Associate choreographerCliffordWilliams Assistant directorAllegraLibonati ADDITIONAL STAFF CROSSING On Crossing

by Matthew Aucoin tradictory elements of his own self? The phrase “between us” itself has a double meaning: what “But for the opera…I could never have written is the relationship between us, and what stands Leaves of Grass,” Walt Whitman reminisced late between us, keeping us apart? in life. It’s perhaps surprising that the quintes- sential American poet, the writer whose signature In the moment that Whitman asks this question, bard-call is a “barbaric yawp” rather than a he is in a state of unknowing; he wants to know, refined warble, spent his formative years—before and needs to know. Crossing emerges out of setting off to cross a wild, apparently “formless” my sense that Whitman wrote his poetry out of poetic frontier—absorbing the bel canto of need—that his poetry is not, or is not exclusively, Donizetti, Bellini, Rossini, and the young Verdi. a vigorous assertion of what he is, but rather the I share Whitman’s opinion that the essence of expression of a yearning to be what he is not, opera has nothing to do with the stuffy salons or to reconcile opposing aspects of his identity. and social one-upmanship of the Americans who The person/persona/personality “Walt Whitman, imported it to in the 19th century: an American, one of the roughs” is the living opera is a primal union of animal longing, as product of this need. expressed in sound, and human meaning, as expressed in language. Indeed, Whitman con- So, in Crossing, the Walt Whitman who walks sidered opera the pinnacle of human expression, the stage is not that familiar poetic persona. something beyond the powers of language alone. Rather, this is Whitman as I imagine he might And in his best poems, Whitman operates like an have been to himself, starting from a midlife opera : he carries the English language crisis which prompts his radical, heroic decision into a new musical landscape. Whitman’s “melo- to drop everything and volunteer in the war dies” surge boundlessly, spilling over the side of hospitals. Naturally, this Whitman is a fictional the page; his exclamations are wild and craggy. creation. Crossing is a musical fantasia which His poetry is both the waterfall and the rocks on imagines and realizes the many forces—generos- which the water crashes. ity, insecurity, longing, selflessness, bravery, un- fulfilled sexual desire, a need to escape his own “What is it, then, between us?” With this reso- life, a boundless kindness—that caused a man nant question at the climax of “Crossing named Walter Whitman, Jr. to forge an indelible Ferry,” Whitman asks many things at once: what embodiment of the American spirit in his poetry. is his relationship to his contemporaries, his fel- low men and women? What is his relationship to Matthew Aucoin composed and wrote Crossing, you, the reader, whoever you may be, whenever and conducted its world premiere in Cambridge, and wherever you may be reading his poem? MA at the American Repertory Theater. He also And what is the relationship between the con- conducts its New York premiere at BAM. Rod Gilfry and Alexander Lewis. Photo: Gretjen Helene Photography Who’s Who

ROD GILFRY (Walt Whitman) Opera including the title role of , St. In the 2017—18 season, Rod Gilfry returns to Brioche in The Merry Widow, Borsa in , the to sing Alberto Roc in the and productions of The Death of Klinghoffer and American premiere of Thomas Adès’ Extermi- ; his Washington National Opera nating Angel and to to sing the début as Flask in Moby Dick; and Tamino in Die Musiklehrer in Ariadne auf Naxos. He reprises Zauberflöte with West Australian Opera. his acclaimed performance as Walt Whitman in Matthew Aucoin’s Crossing at the DAVÓNE TINES (Freddie Stowers) Opera in addition to BAM, as well as Claudius in Bass- Davóne Tines’ performances of Brett Dean’s at the Adelaide Festival. In 2017—18 include a debut concert, he sings Elijah with the Phoenix Sym- in the world premiere of Girls of the Golden West phony and a Mozart arias concert with the San by and , a debut at Bernardino Symphony. The 2016—17 season the Opéra National de in ’s featured Gilfry in three world premiere operas. Only the Sound Remains, and in Matthew He began the season in ’s one-man Aucoin’s Crossing at BAM. Other appearances of opera the loser at the BAM Next Wave Festival, the season include Stravinsky’s Oedipus Rex at then took part in the Houston Grand Opera’s the Baltic Sea Festival conducted by Esa-Pekka world premiere of Jake Heggie’s It’s a Wonderful Salonen and both Schumann’s Das Paradies und Life, based on the Frank Capra film. In the sum- die Peri and Beethoven’s Ninth Symphony with mer, he returned to the Glyndebourne Festival as the led by Gustavo Claudius in the world premiere of Brett Dean’s Dudamel. Past highlights include John Adams’ El Hamlet. Other engagements included the Los Niño with Symphony Orchestra in Lon- Angeles Master Chorale in Walt Disney Concert don and in Paris as well as with the Los Angeles Hall as the bass soloist in Beethoven’s Missa Philharmonic, Kaija Saariaho’s True Fire with Solemnis, and his first Wotan in Das Rheingold the Orchestre National de France, a program at the Biwako Hall Center for the Performing exposing the Music of Resistance by George Arts in Shiga, Japan, under the direction of Crumb, Julius Eastman, , Michael Hampe. and Caroline Shaw with conductor Christian Reif leading members of the San Francisco Sympho- ALEXANDER LEWIS (John Wormley) ny at SoundBox, and works by Caroline Shaw With worldwide operatic engagements and and Kaija Saariaho with the Calder Quartet and acclaimed performances in musical theater, Aus- with members of ICE at the Ojai Music Festival. tralian Alexander Lewis is forging a unique Davóne Tines graduated from Harvard University career as a cross-over artist. He performed the and received a master of music degree from The role of John Wormley in the world premiere of . Matthew Aucoin’s opera Crossing. This season’s engagements include reprisals of Count Danilo JENNIFER ZETLAN (Messenger) in The Merry Widow with West Australian Opera Jennifer Zetlan is internationally and , and the title role of The recognized for her artistry and captivating stage Nose with Opera Australia and the Komische presence. She has been seen and heard on op- Oper Berlin. Last season saw Lewis as Hoffmann era and concert stages worldwide, on Broadway, in Les contes d’Hoffmann and Grisko in The and in recital venues. Zetlan recently performed Fair at Sorochyntsi in a return to Komische Oper the roles of Rhoda in John Musto’s Rhoda Berlin, the title role in The Nose in his début with and the Fossil Hunt (On Site Opera), Laurey in Royal Opera House Covent Garden, Count Danilo Oklahoma! (Charlottesville Opera), and Woglinde in The Merry Widow with West Australian Opera, in Das Rheingold (NY Philharmonic). She and in a Christmas concert with Sydney Phil- has been heard at Carnegie Hall as a soloist in harmonic. Additional recent opera engagements Mozart Mass in C minor and Handel’s Messiah include the title role in Les contes d’Hoffmann (Oratorio Society of New York, Musica Sacra), at in his European début at Komische Oper Berlin; the Park Avenue Armory in Kaija Saariaho’s Lonh multiple engagements with the Metropolitan (NY Philharmonic), and as the title character Who’s Who

in Louis Karchin’s world premiere opera, Jane SEAN CHRISTENSEN (Ensemble, John Eyre (Center for Contemporary Opera). She has Wormley [Cover]) sung with the Metropolitan Opera (, Sean Christensen is recognized as a tenor with , and more), Opera a full, warm, and lyrical , establishing him- (L’étoile), (Amelia, Rigoletto, La self professionally in New York City. He recently bohème, Ring Cycle), Nashville Opera (Die appeared as Itulbo in Caramoor Opera’s produc- Zauberflöte, Fall of the House of Usher), Santa tion of Bellini’s Il pirata, Le Chevalier de la Force Fe Opera (), and Florida Grand in Sarasota Opera’s production of Les Opera (La Sonnambula). Known for her commit- des Carmélites, Des Grieux in Dell’Arte Opera ment to contemporary music, Zetlan has been Ensemble’s production of Manon, Fernando in featured in the premieres of numerous American Bare Opera’s production of Granados’ Goyescas, operas including (Rorem, Juilliard as well as Don Ottavio in Opera in Williams- Opera Center), Morning Star (Gordon, Cincinnatti burg’s production of . Other recent Opera), Two Boys (Muhly, Met Opera), and Dark performances include Azael in Bare Opera’s Sisters (Muhly, Gotham Chamber Opera/Opera production of Ravel’s L’enfant prodigue, Gastone Company of ). in Long Opera’s La traviata, Normanno in with Opera in Williams- HADLEIGH ADAMS (Ensemble, Walt Whitman burg, as well as Tamino in with [Cover]) the Metropolitan Opera Guild. He was a young New Zealand baritone Hadleigh Adams made his artist at Caramoor Opera in 2016 and 2017, professional debut in 2011 at London’s Royal where he performed as Oraspe in Aureliano in National Theatre in the role of Jesus in Jonathan Palmira. He was an apprentice artist at Sarasota Miller’s critically acclaimed stage production Opera in 2016 and 2017, where he covered the of Bach’s St. Matthew Passion. A former San role of Jaquino in Fidelio, and received the Leo Francisco Opera Adler Fellow, Adams performed M. Rodgers Award for Outstanding Apprentice in over 75 performances with the company, most Artist. He was a studio artist at Chautauqua recently as Schaunard in La Bohème. He is a Opera in 2015, and an Opera North Young Artist graduate of London’s Guildhall School of Music in 2014, where he played Daniel Buchanan and Drama. Upcoming performances include his in Street Scene and covered Freddie Eynsford- return to the Los Angeles Philharmonic in the Hill in My Fair Lady. He has performed as a world premiere of Annie Gosfield’s War of the soloist with American Symphonic Orchestra and Worlds, his return to the San Francisco Sympho- Mannes Opera. Awarded the Margaret Creal Sha- ny to perform Maximilian in Bernstein’s Candide, fer Prize in Performance and the Dr. Richard M. and his debut with the American Bach Soloists Siegel Memorial prize for Music as recognition of as bass soloist in Handel’s Messiah. Recent his talent, both at Bard College, Christensen has performances include Creon, Tiresias (Oedipus given several recitals at Bard and Mannes, with Rex), London’s Philharmonia Orchestra; Nicome- repertoire focusing on Strauss, Duparc, Tosti, des (Young Caesar), Los Angeles Philharmonic; Poulenc, and others. He has sung under the ba- Zoroastro (Orlando), RB Schlather @ Whitebox; ton of William Crutchfield, Victor DeRenzi, Jorge Guglielmo (Cosí fan tutte), Pittsburgh Opera; Parodi, Joseph Colaneri, James Bagwell, Leon Falke (Die Fledermaus), Opera; Bello Botstein, and Louis Burkot. He currently studies (la Fanciulla del West), ; with Michael Chioldi. Jesus (St. Matthew Passion), Colorado Sym- phony; Paul (Les Enfants Terrible); Steward (Flight), WILLIAM GOFORTH (Ensemble) Opera Parallèle; Hotel Manager (Powder Her Tenor William Goforth received a bachelor’s de- Face), West Edge Opera; Sam (Trouble in Tahiti), gree from St. Olaf College, and a master’s degree Melbourne Opera; and Mahler’s Rückert lieder with from The Juilliard School. He has attended the the Oakland Symphony. hadleighadams.com Britten-Pears Young Artist Programme, Franz Schubert Institut, Georg Solti Accademia, Heidel- berger Frühling Festival Liedakademie, and the Richard Tucker Foundation’s course. He Who’s Who has appeared as Male Chorus in The Rape of Lu- with Indianapolis Opera, and at Carnegie Hall as cretia, Triquet in Eugene Onegin, The Defendant Count Gil in Wolf-Ferrari’s Il Segreto di Susanna in Trial by Jury, and Jack in Into the Woods. He with The Orchestra Now. In April, he performed has been a featured soloist with the New Juilliard in Brahms’ Ein Deutsches Requiem with Ensemble, St. Olaf Orchestra, and Pink Martini. Indianapolis Symphony, and in July appeared Goforth has appeared in recital with Wenwen in The Magic Flute with Opera Fairbanks. Kelly Du at the Atlantic Music Festival, Casalmaggiore has performed with many of America’s leading International Music Festival, and All Classical and opera companies, including the Portland, with Brian Zeger at Alice Tully Hall, and , Detroit Symphony, Saint with Steven Blier for New York Festival of Song. Paul Chamber Orchestra, Mostly Mozart Festival, Chicago Opera Theater, Gotham Chamber Opera, FRANK KELLEY (Ensemble) Mark Morris Dance Group, Boston Early Music Frank Kelley sings a wide variety of music Festival, and Ars Lyrica. He has also collaborated throughout North America and Europe. He has in recital with celebrated pianists Martin Katz, performed over 90 roles in major opera houses Kathleen Kelly, Malcolm Martineau, Spencer and has appeared with the leading symphony Myer, Jonathan Ware, and Brian Zeger. Kelly orchestras in Boston, Chicago, St. Louis, Dallas, has won prizes in several prominent competi- Mexico City, Tel Aviv, , and Brussels. He tions, including first prizes in the 2013 Poulenc has over 30 recordings, two of which have been Competition and the 2011 Joy in Singing. He is awarded Grammys. Recent engagements include a graduate of the Eastman School of Music and St. John Passion with the Orquesta Sinfonica de Juilliard, and was a member of the Opernstudio Mineria (Meexico City), ’s The Seven at Opernhaus Zurich. Kelly is also artistic director Deadly Sins (Urbanity Dance and Emmanuel of SongFusion, a recital series based in Manhat- Music), The Picture of Dorian Gray with Odyssey tan. michael-kelly.com Opera, and The Essential Ring with the Boston Wagner Society. Kelley has directed for Florentine BEN LOWE (Ensemble) Opera (Milwaukee) and Odyssey Opera (Boston). Ben Lowe, baritone, received his Masters of A resident of Boston, he sings there regularly Music at UCLA studying voice under Vladimir with Emmanuel Music, both in the ongoing se- Chernov and opera with Peter Kazaras. Lowe is ries which presents the complete Bach cantatas, a graduate of Cal State Dominguez Hills where and in special projects including the complete he received his BA in music. He has been a piano/vocal works of Beethoven, Schumann, and featured soloist across the west coast and has Brahms, Schubert lieder, Don Giovanni, St. John sung recitals for many music organizations Passion, Alicia, The Magic Flute, The Christmas in southern . Lowe’s concert work Oratorio, The Rake’s Progress, Die Schöne Mül- includes Handel’s Messiah, the Brahms German lerin, and Dichterliebe with Russel Sherman, Su- Requiem, Mozart’s Mass in C minor and Re- sanna, and most recently St. Matthew Passion. quiem, Orff’s Carmina Burana, Dvorak’s Stabat Mater, and the Verdi Requiem in Royce Hall. MICHAEL KELLY (Ensemble) While at UCLA he participated in West Coast Praised as “expressive and dynamic” and “vocally premieres and many workshops of new operas. splendid,” American baritone Michael Kelly con- Lowe spent this last two summers working with tinues to distinguish himself as a consummate Marilyn Horne at the Music Academy of the West artist, sought-after for his riveting interpretations where he performed in Mathew Aucoin’s Second of recital, concert, and operatic repertoire. This Nature. While attending, Lowe was selected past season, Kelly made two New York debuts— as the winner of the 2016 Marilyn Horne Song a new oratorio by Mohammed Fairouz, recorded Competition. He represented the Music Academy for Naxos, and the role of Kynaston in Carlyle of the West on a national tour. Last summer Floyd’s newest opera, of Players. He Lowe returned to Music Academy of the West as performed the role of Figaro in Barber of Seville a 2017 fellow performing the role of Dulcamara Who’s Who

in The Elixir of . Lowe will be performing in Felsenfeld for Two Sides Sounding, Gitchee the premier of The Monkey’s Paw with Pacific Gumee with Jonathan David for Bar Harbor Opera Project. Music Festival, HAIKU NYC with Ellen Mandel for Brooklyn BEAT Festival, and BQE with Robin MATTHEW PATRICK MORRIS (Ensemble) McClellan for Queens New Music Festival. Neer On the West End has performed in Candide has performed with Rebel Baroque Orchestra, (King Charles, Inquisitor), and at Bouffes du Gotham Chamber Opera, Metropolis Ensemble, Nord, Piccolo Teatro, and on international tour, Mark Morris Dance Group, Music-Theatre Group, Peter Brook’s Une Flûte Enchantée (Papageno, Apollo Theater Salon Series, Miller Theatre Molière Award Best Musical). Off-Broadway Composer Portraits, When Morty Met John appearances include La Périchole, New York at Carnegie Hall, Ostrava Days, Aspen Music City Opera, and on national tour, Scrooge the Festival, and on Broadway in Baz Luhrmann’s Musical (Young Scrooge), and productions La Bohème and the National Theatre’s Coram of Les Misérables (Marius) and Evita (Che) Boy, directed by Melly Still. He has recorded for with Amarillo Opera. Film: The Producers! TV: Dreamworks, Albany, Newport Classics, Operetta Law & Order SVU. He has been a soloist with Foundation, and Naxos. American, Boston, London, Memphis, and MDR Leipzig Symphony Orchestras. Directing projects: JAMES ONSTAD (Ensemble) New York premiere of Svadba by Ana Sokolović James Onstad is a versatile American tenor work- and Mozart’s Lucio Silla for Brooklyn College. ing at the leading edge of opera. Most recently, Writer, director, choreographer projects: Tour of he has appeared with Yuval Sharon’s experimen- Songs in the Key of LA for LA Opera, The Library tal opera company, The Industry. He premiered Foundation of Los Angeles, SongFest, and the role of Orfeo in Hopscotch, a mobile, Brooklyn Baby!, a new musical revue featuring immersive operatic experience which Vice called songs by Brooklyn and librettists for “breathtaking” and Alex Ross of The New Yorker Brooklyn College. He has participated in young deemed “awe inspiring.” And this past February, artist programs at Santa Fe and Tanglewood, he premiered the role of Ted Hinton in Andrew and was a SongFest Stern Fellow. Winner: Vocal McIntosh’s Bonnie and Clyde, a joint production Arts DC Young Artist Competition. He earned a with The Industry and wild , LA’s premiere BM at Juilliard, and an MM from Bard College modern orchestra. In a review of Bonnie and Conservatory. He directed the Opera Workshop at Clyde, New Classic LA described Onstad’s sing- Brooklyn College, and is completing Alexander ing as “sensitive and precise” and “hauntingly Technique teacher training at the Balance Arts beautiful.” In the summer of 2015, he premiered Center. He lives in NYC with his fiancé Edwin the role of Jake in Matthew Aucoin’s Second Na- Cahill and dog Thisbe. ture with Chicago Lyric Unlimited. Other operatic credits include Sam (Kurt Weill’s Street Scene), DANIEL NEER (Ensemble) Candide (Bernstein’s Candide), Amida (Cavalli’s Daniel Neer is a frequent performer of new works L’Ormindo), and Tom Rakewell (Stravinsky’s for opera-theater, including American Reper- The Rake’s Progress). Onstad is also an active tory Theater (Crossing), Prototype Festival (Matt solo recitalist. This summer, he appeared with Mark’s and Paul Peer’s Mata Hari), Royal Opera Aucoin at the Abiquiu Festival House Covent Garden ROH II (Pete Wyer’s Nu- performing Aucoin’s song cycle, Merrill Songs. In minous City), American Opera Projects (Stephen December, he will appear as the tenor soloist in Schwartz’s Séance on a Wet Afternoon), New Bach’s Magnificat and Christmas Oratorio with York City Opera (Chandler Carter’s Strange Fruit), Musica Angelica. and Center for Contemporary Opera (Michael Dellaira’s The Secret Agent). Also a librettist JORELL WILLIAMS (Ensemble) and lyricist, his collaborations include Indepen- Baritone Jorell Williams has been hailed by dence Eve with Sidney Boquiren for UrbanArias, Opera News for his “solid vocal core and easy, And Here We Are with Matthew Welch for natural production” and Experiments in Opera, Bruce Bailey with Daniel for offering “liquid singing” and for his “plummy Who’s Who baritone.” This season, Williams debuts as Le in voice performance from Boston University, Genie in the American premiere of Rameau’s masters degrees from New England Conserva- Sympathie with Victory Hall Opera, and ap- tory, and a BA from Emory University. pears as soloist in Fauré’s Requiem with the Juneau Symphony Orchestra. In addition, he will JEHBREAL JACKSON (Dancer) premiere new works by Libby Larsen and Daren Jehbreal Muhammad Jackson was born in Ft. Hagen with the Phoenix Concert Series. Last sea- Worth, TX, and works in choreography, film, son, Williams made his European opera debut at dance, and music. He took his first ballet class the Budapesti Nyari Fesztival as Jake in a con- with Christie Sullivan at the age of nine, and cert version of Gershwin’s Porgy & Bess, followed studied at LA Dance Collective, Dallas Black by debuts at Seattle Opera as Hannah-Before in Dance Academy, W.E. Greiner Middle School Laura Kaminsky’s As One, Atlanta Opera and for the Arts, Booker T. Washington High School, On-Site Opera as Nardo in a co-production of and The Juilliard School. Jackson has toured Mozart’s The Secret Gardener, Bay Chamber nationally and internationally with The Juilliard Music Festival as Escamillo in Bizet’s La Tragédie School and Dance Theater of Harlem, where with de , and a return to Urban Arias in the ballerina Ashley Murphy he was invited to per- world premiere of Sidney Boquiren and Daniel form When Love, a pas de deux choreographed Neer’s Independence Eve. Williams has also by Helen Pickett, at various international dance had the honor to perform with Wynton Marsalis galas including the Nureyev Festival in , and the Jazz at Orchestra in A Vail International Dance Festival, and for First Celebration of America at the Kennedy Center’s Lady Michelle Obama. He has since worked as Eisenhower Theater on the occasion of the first a freelance artist performing with the American presidential inauguration of Barack Obama. Repertory Theater and the works of Francesca Harper, Matthew Brookoff, Seth Gerstacov, and GREGORY ZAVRACKY (Ensemble) Tania Perez Salas, among others. As a musician Praised for his fine musicality, “glowing inten- Jackson has performed with and the sity,” and “clarion tone,” tenor Gregory Zavracky’s Stay Human Band, Samora Pinderhughes, Kris recent engagements include Handel’s Messiah Bowers, Chris Kapica, Christian Scott, Elena with the Rhode Island Philharmonic, Count Pinderhughes, Braxton Cook, Luke Celenza, and Almaviva in with Townsend Taylor Bennett, among others, at such venues as Opera, Britten’s Les Illuminations with the Aurea the Kennedy Center, Dizzy’s Club/Jazz at Lincoln Ensemble, Tamino in Boston Lyric Opera’s center, Joe’s Pub, and the Museum of Modern family production of The Magic Flute, Bach’s Art in New York City. Magnificat with Back Bay Chorale, Gherardo in and Buoso’s Ghost with Opera JEFFREY SYKES (Dancer) Saratoga, Ernesto in with Opera in Jeff Sykes is currently a company member at the Heights, Ferrando in Così fan tutte with Cape Third Rail Projects performing in the Bessie- Cod Opera, Prince Dauntless in Once Upon a Award winning immersive theater show Then Mattress with Chautauqua Opera, and opera and She Fell and before that, The Grand Paradise. He pops concerts with both the Chautauqua and has had the opportunity to perform with Ballet Utah Symphony. He has sung in the world pre- Hispanico, Brian Brooks Moving Company, Com- mieres of the Five Borough Songbook with Five pany XIV, Donald Borror & Dancers, SteeleDance Boroughs Music Festival, David Wolfson’s Faith and the Metropolitan Opera. He began his formal Operas with Hartford Opera Theater, Ketty Nez’s training at University of North Carolina School The Fiddler and the Old Woman of Rumelia, of the Arts at the age of 16, graduating from the James Yannatos’ Rocket’s Red Blare, Anthony High School Ballet Department. He continued DeRitis’ Three American Songs, Steven Sametz’ his education at The Juilliard School, where A Child’s Requiem, and Dan Shore’s Works of he created works with Alexander Ekman, Jill Mercy. Zavracky teaches voice at the University Johnson, Larry Keigwin, and Ohad Naharin. As of Connecticut, Brown University, and the Boston a choreographer he has presented works at The University Tanglewood Institute. He holds a DMA Juilliard School, Philadelphia Fringe, Princeton Who’s Who

University, WestFest, and is creating a solo show CREATIVE TEAM at Judson Church premiering in Fall 2018. MATTHEW AUCOIN (Music/Libretto/Conductor) CHRISTINA DOOLING (Dancer) Matthew Aucoin (b. 1990) is an American com- Christina Dooling began her dance training at poser, conductor, writer, and pianist. He fuses Stewart-Johnson Dance Academy in Hamilton, these skills as Artist-in-Residence at Los Angeles NJ. As her passion for dance grew, her desire Opera, conducting, accompanying, advising on to continue training led her to NYU’s Tisch new music, and coaching young artists. His sec- School of the Arts. While at Tisch, Dooling was ond opera, Second Nature, was commissioned featured in the Second Avenue Dance Company by , and he is at work on work Phoeonix Variations choreographed by his third for the LA Opera and the Metropolitan Dwight Rhoden, and began touring the world Opera/Lincoln Center Theater New Works Pro- with Complexions Contemporary Ballet. Credits gram. Other works have been premiered at include The Phantom of the Opera, North Carnegie Hall (Merrill Songs for tenor Paul American Tour; Flesh and Bone (Starz); The Late Appleby), the Alabama Symphony (a piano con- Late Show with James Corden (CBS), Pharrell’s certo commissioned by The Gilmore Foundation, “Happy” (MSG), Camila Cabello’s Crying in the with pianist Conor Hanick), and the Los Angeles Club (MMVA’s), as well as pop-ups with Ariana Chamber Orchestra (an orchestral work, Evi- Grande, Snoop Dogg, and Lil’ Kim. She was a dence). These and other works have been heard Broadway Dance Lab, Spring ’17 cycle member. at the Biennale, Zurich’s Most near and dear to Dooling’s heart is her col- Tonhalle-Orchester, the Salzburg Landestheater, laborative work to support the Cure Alzheimer’s and elsewhere, and his music has been featured Fund with Chris Mann to create the music video on radio programs including This American Life, “Remember Me.” Love and many thanks to my From the Top, and Studio 360. As a pianist he family, E, and Lakey Wolff & Co. appears in chamber music with members of the Chicago Symphony and has worked with many KARELL WILLIAMS (Dancer) leading singers, including Renée Fleming, Rod From an international career as a performing art- Gilfry, Anthony Roth Costanzo, and Paulo Szot. ist, Karell Williams has shifted into the television A graduate of Harvard with a diploma from and film industry, appearing in the Starz drama Juilliard, Aucoin was recently the Solti Con- Flesh and Bone, created by Moira Walley-Beck- ducting Apprentice at the Chicago Symphony ett. He plays the role of Trey, a “trendy, cheeky Orchestra, where he assisted and studied with maverick” of the ballet world. Born in Miami, . FL, he received his bachelor of fine arts from the prestigious Juilliard School under the director- DIANE PAULUS (Director) ship of Lawrence Rhodes. His training extends Diane Paulus is the Terrie and Bradley Bloom through Dance Theater of Harlem, Alvin Ailey Artistic Director of the American Repertory American Dance Theater, Alonzo King’s LINES Theater (A.R.T.) at Harvard University, and Ballet, and American Ballet Theater. A choreog- was selected for the 2014 Time 100, Time rapher and master teacher, as well as a former magazine’s annual list of the 100 most leading soloist dancer with the internationally re- influential people in the world. Paulus is the nowned Les Grands Ballets, Williams has worked 2013 recipient of the Tony Award for Best with and performed principal works by pioneers in Director of a Musical (). Select A.R.T. dance such as William Forsythe, Ohad Naharin, productions: Crossing, Eve Ensler’s In the Body Jiri Kylian, Alonzo King, and Mak Ek, to name a of the World, (currently on Broadway at few. Williams brings his passion for physical act- the Brooks Atkinson Theater), Finding Neverland ing to film and TV in his new journey. (currently on US national tour), Witness Uganda, Pippin (Tony Award, Best Revival and Best Director), The Gershwins’ (Tony Award, Best Revival; NAACP Award, Best Who’s Who

Direction), Prometheus Bound, Death and the Cunning Little Vixen (Glyndebourne); Miss Powers: The Robots’ Opera, Best of Both Worlds, Fortune (Royal Opera House Covent Garden, and The Donkey Show. Other recent work Bregenz Festival); Elegy for Young Lovers (ENO includes ’s , currently on at the Young Vic); Death in Venice (La Scala, tour in Europe, Invisible Thread at Second Stage, Premio Franco Abbiati della Critica Musicale Itali- and ’s Tony Award-winning ana winner); Così fan tutte, Le Nozze di Figaro, revival of on Broadway and London’s West Don Giovanni (Opéra National de Lyon); and The End. As an opera director, her credits include Rape of Lucretia (Bayerisches Staatsoper Mu- The Magic Flute, the complete Monteverdi cycle, nich). Select Broadway credits: Long Day’s Jour- and the trio of Mozart-Da Ponte operas. Paulus ney into Night, All My Sons, The Glass Menag- is Professor of the Practice of Theater in Harvard erie, Fiddler on the Roof (Tony nomination), The University’s English Department. Testament of Mary, Cyrano de Bergerac, and Medea. Select West End credits: Who’s Afraid of JILL JOHNSON (Choreographer) Virgina Woolf?, A Christmas Carol, Sinatra, and Jill Johnson is director of dance, a faculty Medea. Film and TV includes: To Walk Invisible member, and artistic director of the Harvard by Sally Wainwright (BBC, PBS), the Emmy Dance Project at Harvard University. A graduate Award-winning Gloriana, A Feast at Midnight, of Canada’s National Ballet School; this 30-year Christie Malry’s Own Double Entry, Richard II, veteran of the dance field choreographs for film, Twelfth Night (Channel 4), Just William (BBC), television, and the stage, and has danced in over The Helen West Casebook (ITV), and The Late 50 tours on five continents. She was soloist with Michael Clark (BBC). the National Ballet of Canada and a principal dancer and researcher in William Forsythe’s com- DAVID ZINN (Costume Designer) pany Ballett Frankfurt. Johnson stages Forsythe’s David Zinn’s recent Broadway productions in- work worldwide, including for , clude costumes for A Doll’s House, Part 2 (Tony La Scala, Batsheva Dance Company, Norwegian nomination), set design for Present Laughter National Ballet, Netherlands Dance Theater, and The Humans (Tony Award), and sets and and American Ballet Theater. She is a founding costume for Amélie, Fun Home (Tony nomina- collaborator of the Movement Invention Project tion), and The Last Ship. Recent off-Broadway in New York, and has served on the faculties of, includes set design for Hamlet (Public Theater), and created choreographic work for, Princeton costume design for (NYTW), and set and University, , The Juilliard costume designs for the The Flick. Around the School, and NYU, and has created 12 new country his work as been seen at Steppenwolf, installation and proscenium-based dance works Center Theatre Group, ART, La Jolla Playhouse, at Harvard since 2011. Recent collaborations Berkeley Rep, Yale Rep, Guthrie Theater, Lyric include those with the Harvard Choruses, Boston Opera of Chicago, , Ballet, , NBS Toronto, Dries Santa Fe Opera, , and San Van Noten, David Michalek, and the Louvre Francisco Opera. Musée des Arts Decoratif, Dance On Ensemble Berlin, and Sadler’s Wells Theater in London. JENNIFER TIPTON (Lighting) Jennifer Tipson is well known for her work in TOM PYE (Set Designer) theater, dance, and opera. Her recent work in Select opera credits include Così fan tutte, The opera includes Gounod’s Roméo et Juliette di- Death of Klinghoffer, Eugene Onegin (ENO and rected by at the Metropolitan Opera. Metropolitan Opera co-productions); Akhnaten Her recent work in dance includes Balanchine’s (ENO, LA Opera); Aida, Riders to , St. A Midsummer Night’s Dream for the Paris Opera John Passion (); Thebans Ballet and Justin Peck’s Decalogue for New York (ENO, Theater Bonn); Messiah (ENO; Opera City Ballet. In theater her recent work includes Lyon); The Turn of the Screw (ROH); Crossing Lucas Gnath’s A Doll’s House, Part 2 on Broad- (World Premiere, American Repertory Theater); way at the Golden Theater which garnered her a Who’s Who

Tony nomination. Tipton teaches lighting at the democratic structure has helped generate con- Yale School of Drama. She received the Dorothy sistently thoughtful, innovative, and unpredict- and Lillian Gish Prize in 2001, the Jerome able programming, including collaborations with Robbins Prize in 2003, and in April 2004 the artists such as Yo-Yo Ma, Jake Shimabukuro, Mayor’s Award for Arts and Culture in New York Gabriel Kahane, Urbanity Dance, Roomful of City. In 2008 she was made a Art- Teeth, and the Silk Road Ensemble. Whether ists “Gracie” Fellow and a MacArthur Fellow. playing a new commission from composers such as , Caroline Shaw, Vijay Iyer, or FINN ROSS (Projection Designer) ; or a work by Mozart, Haydn, Finn Ross trained at Central School of Speech or Piazzolla—A Far Cry takes audiences on a and Drama and designs video for live perfor- unique ride. The 18 “Criers” are proud to call mance. He has won two Olivier Awards, a Tony, Boston home, rehearsing at a storefront music and two Drama Desk and Outer Critics Circle center in Jamaica Plain, MA. The group presents Awards. Recent work in theater: Frozen (Broad- a hometown subscription series, and has been way), Bat Out of Hell (West End and Tour), in residence at the Isabella Stewart Gardner Mu- Harry Potter and the Cursed Child (West End), seum since 2011. In 2014, A Far Cry launched (RSC); Curious Incident of the Dog its in-house label, Crier Records, with the album in the Night-Time (Broadway/West End/Tour); Dreams and Prayers, which met with critical Bat Out of Hell (London and International); In acclaim and a Grammy nomination. The second the Body of the World and Crossing (American release, Law of Mosaics, landed a spot on New Repertory Theatre); American Psycho (Broadway Yorker music critic Alex Ross’ Top Ten list. A Far and Almedia); Betrayal (Broadway); Cry has an active YouTube channel with tens (Almeida and West End); Closer (Donmar); and of thousands of views, and live streams many The Master and the Margarita, All My Sons, shows on its website, afarcry.org, and in partner- Shunkin (Complicite). Opera: The Rise and Fall ship with KING FM’s Second Inversion. of the City of Mahagonny (Royal Opera House); Missa Solemnis (LA Phil); Benvenuto Cellini, The SAMUEL LERNER (Sound Designer) Samuel Death of Klinghoffer, Death in Venice, One- Lerner lives in Boston where he serves as sound gin, Simon Boccanegra, Damnation of Faust, manager for the American Repertory Theater. Don Giovanni (ENO); Hänsel und Gretel, Die Broadway includes Natasha, Pierre and the Zauberflöte, A Dog’s Heart (DNO, Amsterdam); Great Comet of 1812 (associate sound design- La clemenza di Tito, Mr. Broucek (Opera North); er). Regional productions: Annie, Absurd Person Les Pêcheurs de Perles, Béatrice et Bénédict, Singular, Seussical, Jane of the Jungle, Top Turn of the Screw (Theater an der Wien); and Dog/Underdog, Into the Woods, Mansfield Park Rinaldo (Glyndebourne). Dance: Le Petit Prince (South Coast Rep), The Dresser (North Coast (National Ballet of Canada), Frankenstein (Royal Rep), and Salsalandia! (La Jolla Playhouse). Ballet), and The Feeling of Going (Skånes Dans- Training: Royal Academy of Dramatic Art, Royal teater and Malmö Opera). Central School of Speech and Drama.

A FAR CRY (Orchestra) ANDREW EGGERT (Associate Director) In its 10 years, the Grammy-nominated string Andrew Eggert is an opera stage director and orchestra A Far Cry has taken an omnivorous dramaturg. He is head of opera at Roosevelt approach to its music-making. According to University’s Chicago College of Performing Arts. , A Far Cry “brims with Recent projects include Mosè in Egitto and La personality or, better, personalities, many and Tragédie de Carmen at Chicago Opera Theater, varied.” Founded in 2007, the self-conducted the US premiere of Clemency by James MacMil- orchestra has fostered those personalities since lan for Boston Lyric Opera, Così fan tutte and the beginning, developing an innovative process Bluebeard’s Castle for Opera Omaha, La descen- where decisions are made collectively and te d’Orphée aux enfers with Gotham Chamber leadership rotates among the members. This Opera, Alcina and Les contes d’Hoffmann at Who’s Who the Napa Music Festival, with Hart with National Theatre of Scotland, Spike Pegasus Early Music, and the world premieres of Jonze’s Changers at La MaMa Experimental by Hannah Lash and Giver of Light by Theater, as well as more than 50 special events Adam Roberts with Guerilla Opera. He is a regu- and productions within the McKittrick Hotel. lar collaborator of stage director Diane Paulus, Credits at American Repertory Theater include having served as associate director on projects the 2015 premiere of Crossing, Punchdrunk’s including the world premiere of Tod Machover’s Sleep No More, Eve Ensler’s In the Body of the Death and the Powers; Die Zauberflöteat Ca- World, Witness Uganda, Death and the Powers: nadian Opera Company; and Gotham Chamber The Robots’ Opera, and Anna Deavere Smith’s Opera’s production of . He Let Me Down Easy. She holds a BFA in stage has been guest director at Princeton University management from Boston University’s College of and the Yale Baroque Opera Project, and has Fine Arts. worked with young artist programs including Glimmerglass Opera, Santa Fe Opera, and Wolf KATE GUTHRIE (Assistant Stage Manager) Trap Opera. He earned a BA in English from Kate Guthrie recently graduated from UC San Di- and an MA, MPhil, and PhD in ego with and MFA in stage management. UCSD Historical Musicology from Columbia University. Theater and dance credits include: Mr. Burns, A post-electric play (PSM). Accomplice: San ADAM NIELSEN (Rehearsal Pianist) Diego and The Hunchback of Notre Dame (PA) Adam Nielsen enjoys a diverse career as a at La Jolla Playhouse. New York credits include soloist, chamber musician, and opera pianist. Ex Machina (PSM) and Sleep No More (SM). In recent seasons, Nielsen has been presented Chicago credits include The Pillowman (PSM) at as a soloist and collaborator at Ravinia’s Martin Redtwist Theatre Company, and Death and Harry Theater, the Myra Hess Recital Series at Chicago Houdini (ASM) for the House Theatre Company Cultural Center, Harris Theater Chamber Music of Chicago. Member of Actors’ Equity. Series at Aspen Festival, Musée de Beaux Arts in Montreal, Ethical Society of St. Louis, Boston’s ALLEGRA LIBONATI (Assistant Director) Schubert Theater, Missouri River Arts Festival, Allegra Libonati is a director of theater and opera. Grand Cayman Arts Festival, and in New York Recent productions: Romeo and Juliet (Common- City at Steinway Hall, Alice Tully Hall, Carnegie wealth Shakespeare Company, Summer Pick, Hall, and 92nd Street Y. He is currently an as- Boston Globe), The Rake’s Progress (Boston sociate faculty member of the Marcus Institute Lyric Opera), Troubled Waters (Guerrilla Opera, for Vocal Arts at The Juilliard School. There, he Best World Premiere, Boston Classical Review), holds the position of principal coach and music and Peter Pan’s Neverland (Broadway Asia, advisor to undergraduate vocalists, and is also a new immersive adventure show in Beijing, a coach and assistant conductor for the Juilliard China). As resident director of the A.R.T.: The Opera. In the summer, he is on the music staff Snow Queen (A.R.T., Filament Theatre), Hansel at Opera Theater of St. Louis. He has been on and Gretel, The Pirate Princess, and The Light the music staff at the Heifetz International String Princess (A.R.T., New Victory Theatre, New Institute, Aspen Opera Theater, American Reper- York Times’ Critics’ Pick). Future productions: tory Theater, and has also worked with Virginia Verdi’s (Opera Omaha) and Opera, , and Chicago Lyric, and the (Wayne State University). As assistant director Metropolitan Opera. for Diane Paulus: Crossing (A.R.T.), Death and the Powers: The Robots’ Opera (Dallas Opera, CAROLYN RAE BOYD (Production Stage Chicago Opera Theatre, A.R.T., Monaco Opera Manager) House), Hair (Tony Award-winning Broadway Carolyn Rae Boyd is the production stage man- Revival), Prometheus Bound by ager for Punchdrunk’s Sleep No More. Other NY and (A.R.T.), and In the Body of the credits include Invisible Thread (Second Stage World by Eve Ensler (A.R.T.) She directs for the Theater), The Strange Undoing of Prudencia Summer Theatre of New Canaan and teaches at Who’s Who

Harvard University. Graduate of NYU and CMU. The A.R.T. Institute for Advanced Theater Train- ing, which is run in partnership with the Moscow DAWN-ELIN FRASER (Dialect Coach) has Art Theatre School, offers graduate training in worked on Broadway productions of Finding acting, dramaturgy, and voice. The A.R.T. also Neverland; Waitress; Once on This Island. Off- plays a central role in Harvard’s undergraduate Broadway: Nat Turner in Jerusalem; Sojourn- Theater, Dance, and Media concentration. ers; Her Portmanteau (NYTW); Barbeque (The Public); Our Lady of Kibeho (Signature); MUSIC-THEATRE GROUP (Diane Wondisford, and Invisible Thread (Second Stage). National Producing Director) Tour: The Gershwin’s Porgy and Bess; Finding Music-Theatre Group is dedicated to helping Neverland; Waitress. Site-specific: Ragtime on artists turn creative inspiration into dramati- Ellis Island. Voice faculty Yale School of Drama. cally compelling works of art. MTG has created Head of voice and speech for New Studio on collaborations among composers, poets, writ- Broadway/NYU. ers, directors, choreographers, designers, and performers working with them from the begin- AMERICAN REPERTORY THEATER (Diane ning and throughout the life of their projects to Paulus, Terrie and Bradley Bloom Artistic develop and produce thought-provoking works of Director; Diane Borger, Executive Producer) music-theater that blur the boundaries between The American Repertory Theater is a profes- music/theater/opera. Seminal works include: sional theater company in residence at Harvard Dark Sisters by and , University, led by Terrie and Bradley Bloom Rebecca Taichman (dir.); Arjuna’s Dilemma by Artistic Director Diane Paulus, and Executive Douglas Cuomo, Robin Guarino (dir.); Running Producer Diane Borger. It was founded in 1980 Man by Diedre Murray, Cornelius Eady, Diane by Robert Brustein, who was its artistic director Paulus (dir.); Marco Polo by and Paul until 2002, when he was succeeded by Robert Griffiths, M. Clarke (dir.); Juan Darien by Julie Woodruff. Diane Paulus became artistic director Taymor and Elliot Goldenthal; Eve Ensler’s in 2008. Throughout its history, the A.R.T. has Extraordinary Measures, William Harper (music); been honored with many distinguished awards, Martha Clarke’s Garden of Earthly Delights and including the Tony Award for Best New Play for Vienna: Lusthaus, Richard Peaslee (music), text All the Way (2014); consecutive by Charles Mee; and Dr. Selavy’s Magic Theatre for Best Revival of a Musical for Pippin (2013) by Stanley Silverman & Richard Foreman. For the and The Gershwins’ Porgy and Bess (2012), past five years, MTG has collaborated with Opera both of which Paulus directed; a Pulitzer Prize; Philadelphia and its Composer in Residence pro- a Jujamcyn Prize for outstanding contribution to gram, featuring Lembit Beecher, Missy Mazzoli, the development of creative talent; the Regional David Little, Andrew Norman, David Hertzberg, Theater Tony Award; and numerous Elliot Norton and Rene Orth. Coming in 2018—19: Hatuey, and IRNE Awards. As the professional theater a Yiddish opera in a Cuban nightclub, by Frank on the campus of Harvard University, the A.R.T. London and Elise Thoron, Mary Birnbaum (dir); catalyzes discourse, interdisciplinary collabora- and The Nefarious, Immoral, but Highly Profit- tion, and creative exchange among a wide range able Enterprise of Mr. Burke & Mr. Hare by Ju- of academic departments, institutions, students, lian Grant and Mark Campbell, David Schweizer and faculty members, acting as a conduit be- (dir.) at Boston Lyric Opera, November 2017. tween its community of artists and the university. CROSSING—Libretto

(The stage is dark. We barely see the outlines My brother soon was healed. of beds in which bodies lie motionless under And yet I stay and stay... blankets. WALT WHITMAN appears, spotlit, and walks through the darkened space. He paces Why can I not leave? slowly but determinedly; it seems he is looking What is it that I am looking for? for something.) 2. “ Living ...” Act 1 Chorus: O living soul who dares to walk below, 1. Prologue We long to speak of what you long to know

WW: What is it, then, between us? 3. “Is Anyone There?”

You, whoever you are, (Night. JOHN WORMLEY staggers into the Twenty feet away hospital dragging his badly-wounded leg.) Or generations hence– Where is it that we meet? John: Is anyone there? And what keeps us apart? Is anyone listening?

For I am sure I must have lost my way... I have sat where you sit, I must have strayed from the path... Looked upward as you look– Am I in the North or the South? Have felt the thrill I don’t know my way back... Of darkness descending– Have breathed the air you breathe. Why did I run from home? I wanted to die on the battlefield Since neither Time nor Space But even there I failed Can keep us apart... I’m alive and I’m alone Since I have sat where you sit And breathed the air you breathe... Oh, but it’s so quiet here… I know you will hear me. I could lie down… If I close my eyes, In the middle of the journey of my life, Soon I’ll be gone… I found myself a self I didn’t know. Known to the world as Everyman, It would be so easy just to go. I did not know who I was. Yes…I’ll sleep forever…and no one will know…

In the war that tore our country apart 4. “I Am With You...” My brother was wounded down south And there in the limbo of Washington lay hurt. (WW, making his nightly circuit, notices JOHN and hurries over.) So I walked. I walked to find him. I walked south from New York. WW: I am with you. I walked till I came to hell on earth: John: Who? Who is “with me”? A hospital of souls half torn from their bodies, Of bodies too weak to bear souls. WW: A friend. What I saw would have driven Take my hand. Any sane man away. Libretto

John: I don’t have much choice. My best friend died by my side What is this place? At Gettysburg’s front line.

WW: You have found a hospital We chased the Rebels a hundred miles, On the outskirts of the capital Over mountains, across the frontier... Where the wounded gather I slipped one night... To be alone together. They left me behind... And somehow I ended up here. John: And you’re the doctor? (The following lines are, again, WW: No, overlapping asides.) I’m just a...volunteer. WW: (Such bravery so young... There is no money for a doctor here. Your suffering now is done. They say the war is nearly won Stay, my boy, with me. But the world has forgotten what you all Soon you will walk free.) have done. John: John: And what do you do, (He believes me — now I’m free— If you can’t heal a wound? I’ve convinced him I’m not me — Now I’ve passed the test. WW: I help as I can: Finally I can rest.) I bring chocolate and beer, Tell stories at night– John: (to WW) What about you, old man? There’s always some confession to hear, How long have you been in this place? There’s always a letter to write... But never mind about me! WW: Two years – or maybe three... Son, how did you find us? In here, time barely seems to pass.

(JOHN and WW’s next lines are asides, sung John: Three years? By choice? Are you crazy? overlapping one another.) WW: I came to find my brother. John: (Could I tell him the truth? I found him, he got well... Could I say who I am? I stayed to help for a day or two It’s the middle of nowhere... And I found I like to heal. He might understand... No, it’s too dangerous... John: So you call yourself a healer? Stick to the plan.) WW: I do what I can. WW: (Such beauty, such life, such fire... A living soul John: (gesturing towards the other patients) In the middle of war!) But can these men be healed?

JOHN: (to WW) John Wormley is my name. WW: It is worthwhile to help each living man. Boston is my home. When war broke out John: Don’t you have a life of your own? I walked on south. Don’t you have A home, a wife, a son? I was fourteen and alone. WW: My home is this wide world. I’ve fought the Rebels for three full years. My family, everyone. I was wounded a dozen times. Libretto

John: Maybe you’re a criminal – a convict, (He sings a mournful postlude, falsetto.) a runaway... 7. “May they rest…” WW: I’m not the type, my boy, but I’m flattered all the same. Chorus: (praying, a cappella) May they rest within the presence of the Lord. John: Who are you, then? We all were taken from the ground. Old man, you look like one of the living. The ground will take us back again. What are you doing here with the dying? For we are dust; to dust we shall return. Old man, you’ve still got some fire in your blood. Do you really think your words will do us John: (aside, scornfully) any good? Empty words for empty men. You can’t accept that you’re to blame. (A sudden commotion – the men have seen You sold yourselves to Lincoln’s game: something outside.) You all are his slaves.

5. “He’s back!” Freddie: (having overheard JOHN muttering) What did you say? Chorus: He’s back, he’s back! Stowers is back! John: (addressing the whole group) He’ll have news from the front – he made it How long will you put up with this? back! How long will you believe That anyone can win John: What’s happened? A war that never ends?

WW: Their comrade’s back from Washington. It is a hopeless fight. Pray for good news... There is no end in sight.

(FREDDIE STOWERS appears, Chorus: (murmuring to themselves) looking exhausted.) He’s right…

Chorus: Stowers — have we won? It is a hopeless fight. There is no end in sight. (FREDDIE silences the men with a gesture and pauses to gather his strength.) (The chorus repeats these lines with growing agitation. WW, sensing that there’s a risk of total 6. “The news I bring is hard...” panic, steps in and interrupts.)

Freddie: The news I bring is hard. WW: I see you ev’ry one o comrades battered The war is far from done. and beaten, Twenty thousand men Cut down in the white-hot light of life’s Died at Chickamauga noontime sun... In a single day. Now comrades, be not vengeful! We have fallen behind Do not now strike down hope. In the Western campaign. I see you through the darkness, I know you – We thought the war The war’s nearly won Was lost and won And your souls still are whole! But our comrades out west Won’t come back home. Chorus: “The war’s nearly won, the war’s nearly won” Libretto

That’s all we ever hear, Here and now, for us all, make it real. And still it never ends. (The power of WW’s plea has frozen the men I fear it never will... in place. Now they seem to relax, to reflect. A long pause. Finally one of them speaks, saying John: Yes, that’s right! Face the facts! “I was...” as though trying to remember. Then Get it into your heads! another joins, and another. Slowly, the text of the Why not live a little? following chorus is built collectively.) Tomorrow we’ll all be dead. 8. “I was...” Since we’re stuck in hell on earth, why not enjoy The pleasures of the damned? Chorus: I was seventeen. Take opium! Take chloroform! I was about Get plastered since you can! To run away to fight. It was the last night. And if at night you find yourself I met her by the well. Lying awake asking “why?” We walked into an open field. You’ve no responsibilities: Naked in moonlight... We’re even free to die. Her hair as gold as grass... We held each other Chorus: (muttering among themselves, unnerved Till dawn came breaking through. by JOHN’s behavior) I smelled the smoke from town... (Is he crazy?) I saw it vanish in the air... (He’s crazy.) That night the stars burned near... (He’s out of his mind.) My sleep was black and clear. (He is some devil come to drive us to despair.) (Get him out of here!) (By the end, the soldiers have sung themselves (Get him out!) into a reverie. Only JOHN and WW remain conscious. JOHN stares at WW with a mixture (They are on the verge of attacking JOHN when of suspicion and grudging admiration.) WW intervenes.) 9. “Well done, old man...” WW: What madness has taken hold of you? All of you, back to your beds! John: Well done, old man. You found a way Forgive our new friend John Wormley. to silence. He does not mean what he said. WW: Hmm. No thanks to you. His journey was long — he is tired, Not quite in his right mind... John: Forgive me... And just like you and me I had a bad moment. He is lucky to be alive. Sometimes I feel like there’s No reason left to hope. Remember that all who have air and light Have the best that life can give. WW: You aren’t alone. Remember life beats unbroken in every You aren’t alone. wounded body– There are days when I feel that way too. Remember that you live! John: Now I think I see I know you all, brothers, sons, fathers – Why you stay. You all have lives to tell. I think you like it: Hold now your memories close in the night, You’ve got them all in the palm of your hand. Libretto

You brought them peace and quiet somehow, WW: All right. Thank you, my boy. Everyone but me... You don’t know what it means for me But there is one thing that I think could help To do this sacred work There is one thing I need. Of sharing love and truth.

WW: What’s that? (He kisses JOHN’s brow and walks away, leaving JOHN alone in the spotlight. JOHN is clearly John: Well...you know I’m not hurt bad... conflicted, in physical and emotional pain.) But my arm’s all busted up And I can’t quite use my hand. John: God, now I’ve done it. Would you write me a letter home? Now there’s no going back... If the letter gets to Richmond they’ll attack. WW: Son, there’s nothing I’d rather do! I knew you had a heart. A helpless Union hospital... I knew you still had some life in you. Is it worth enough To get me pardoned now for running off? John: I’m not so bad, you see? And even if they find it, WW: Where should it be sent? Will they know – will they care – To spare me? No – I don’t want to be spared. John: Just send it on to Washington Care of Benjamin Seward (Light slowly down on JOHN’s bed and up on He’ll send it on to my folks. FREDDIE STOWERS, who is still awake, staring pensively into the darkness. WW approaches WW: (writing the name down) from a distance; FREDDIE does not yet Alright. notice him.)

John: Dearest Ma and Pa, 10. “Once I lay...” I don’t want you to worry, But I’m hurt, in the hospital... Freddie: (singing to himself) Once I lay ‘neath a We were on our way down to Kessler’s bed of stone... Cross lanes... Now rainwater washes my bones I got lost in the swamp south of Washington. By the banks of the green, green river Between two hills I saw a hospital off the road. And the wind blows ‘em far, far from home... The men here are weak... The place has been left alone. (WW draws nearer and speaks a little hesitantly.) But at least thank God It’s all Union men. WW: Sir, you alright?

I’ll write again Freddie: Fine, as it goes, sir. As soon as I can. Sincerely, John. WW: I don’t think you and I have ever talked.

(WW finishes writing and looks the letter over.) Freddie: I ain’t got much to tell. I was born, I fought, I fell. WW: That’s all? Nothing tender for your mother? WW: I’ll bet there’s more to it than that. Where were you born? John: Oh...my parents just want the facts. Libretto

Freddie: South Carolina. In this life I’ll never see Such things again, WW: Ah! So to join us But one day they will be... You must have run away! I don’t know when.

Freddie: Yes. That night Time just stopped Or Time came all at once... (Over the course of FREDDIE’s story, the lighting/ It gave me all I need. video screens manifest some of his vision.) I’ve been strong ever since.

I was born one You probably think I’m crazy. Of a man’s thousand slaves. I ain’t never told that to no one. When I turned thirteen, But maybe you understand? I escaped. Somehow, talking to you I feel like Time’s waking back up. I slept in the fields by day I wandered north by night, (STOWERS walks away. WW stands stunned, And ten years later marched overwhelmed by the force of STOWERS’s vision. Back south to fight. He turns to the audience.)

But there’s one thing I’ve never told 11. “Crossing Brooklyn Ferry” Any living man. I saw something once heading north WW: Flood-tide below me! I see you face to face! That I don’t understand. You – America – contradictory, confus’d, ill- I had lost all hope... assorted, cruel and generous mother! In the I was starving, alone... darkest hour of the life of a man you yourself I almost wanted so wrongly enslaved, you do not fail to grant a To go back home.... vision of the life that is to come.

I stowed aboard a ferry I myself, America – I your loyal old lieutenant – I Crossing at night. who serve you with the patience, the goodwill, The mist was thick, and the sheer dumb joy of a dog – this hour has There was no light... tested me sorely. I have asked – is this humanity – these butchers’ shambles? I have asked – will Then over the river the devils in us win the day? The air caught fire... I saw machines I have asked what this bond is between us. That flew through the sky... (The chorus is heard in the distance, I heard explosions singing wordlessly.) That shook the ground And towers I saw And I have been answered: That pierced the clouds... Just as you feel when you look on the river, so Life and death, I felt. Destruction and birth... It was the same to me as it is to you. For an instant I saw Mankind’s future on earth. It is not upon you alone the dark patches fall, The dark threw its patches down upon me also… Libretto

Nor is it you alone who knows what it is to WW: Oh, my son, be evil, I am sick at heart. I am he who knew what it was to be evil… Sometimes I fear that all I do here May be for naught, Hold fast, America. That ev’ry word I write of this This hour too shall pass. May be forgot.

Flow on, river! flow with the flood-tide, and ebb John: And would that be so bad? with the ebb-tide! Gorgeous clouds of the sunset… WW: What do you mean? We receive you with free sense at last. John: Well, the world calls us heroes, Act II Because they don’t know. It’s because they don’t see It is the middle of the night, several hours later. What we have to do.

12. “The Sleepers” This war is a shameful, Animal thing. (The dead of night. WW seems to be the only Let its memory die with us. one awake. He walks restlessly among the beds, clearly ill at ease. The soldiers are heard Why drag all this darkness murmuring in their sleep.) Out into the light? Just let them forget us. WW: The new-born emerging from gates, and Don’t disturb the night. the dying emerging from gates… The night pervades them and infolds them. (WW is clearly shaken to the core by JOHN’s words.) I stand in the dark with drooping eyes by the worst-suffering and the most restless, Ah…I can see in your face you know I’m right. I pass my hands soothingly to and fro a few inches from them, (The soldiers are again heard murmuring, as if The restless sink in their beds – they in a dream.) fitfully sleep. Listen…they are groaning in their sleep… The earth recedes from me into the night, Listen how they long and long for the dark… I saw that it was beautiful, and I see that what is not the earth is beautiful. WW: (muttering to himself, in deep distress) Come, lovely and soothing Death, (WW suddenly notices, with a start, that JOHN Undulate ‘round the world, is awake.) Serenely arriving, arriving…

I thought you were asleep, Wormley! John: Some things should not be told. Some things should not be known. 13. “Oh, not me. These days I don’t get much rest.” You are alone. John: Oh, not me. I’m alone too. These days I don’t get much rest. This all will be forgotten… And what about you? You know…you know what you want to do. What’s my saintly nurse doing awake? WW: (slowly drawing closer to JOHN) Libretto

Can I let myself sink She’s holding a letter!

Into the night WW: No – it is a dispatch, some official news! And into you…you who I’ve longed for? Chorus: Could it be what we’ve waited for? WW/John: Here with you Could it be the war’s at an end? The night is closer. John: (aside) (As WW walks closer to JOHN, as if pulled by (Have they found me out?) an invisible force, the two men continue to sing. They repeat their final lines – then they sing (A woman, the MESSENGER, appears in the wordlessly. WW climbs into bed with JOHN. doorway. She is taken aback to find anyone Lights slowly dim to black.) there at all, and is more shocked still at their physical condition.) 14. “Sweet Color” 16. “I was told...” (Day begins to dawn. The soldiers are waking up. They look weary and pale. They sing to Messenger: themselves. During their song, WW makes his I was told there was once a hospital here. rounds. He visits various beds, brings a few This must be the place. men food, checks on others’ bandages, etc. He avoids eye contact with JOHN.) Oh... so this is the cost... This is the price of victory. Chorus: Sweet color I come with happy news. Eastern sky But I fear I’ve come too late... Golden and blue Today the war is ended. Morning star The war is ended and we have won. Fills my eyes The Rebels are defeated, the danger is done. My love I’m far from you... Be glad, for the war is ended.

15. “What’s that?” In the name of progress, very soon The hospital will be torn down (A voice is heard in the distance. The words are For at last the war is ended. indistinct at first.) Chorus: (to themselves) Chorus: Who’s that? (Can it be that it’s all over? So this is what we fought for… (The voice draws closer. WW hurries to the door I don’t feel joy or sorrow, to see who’s there.) My spirit is numb.

Messenger: (offstage) We are the cost. Hello? Is there anyone alive here? We are the money Spent to win this war.) (WW, at the door, turns back to face the men.) (After another uncertain, searching look around WW: It is a woman – a Union nurse, by the the room, the MESSENGER disappears as looks of her! suddenly as she came. A pause. WW looks around at the men, a joyful look on his face.) Chorus: (straining to see) Libretto

17. “Friends...” 18. “My boy, can you forgive me?”

WW: Friends, don’t sit there dumbfounded! WW: My boy...Can you forgive me? This is the news we’ve been longing for! Last night I crossed Your work was not in vain! A sacred boundary The nation will be whole again And all men will walk free! My boy, we soon Join me in singing thanks and praise!!! Will leave this place... Please let me see your face... (He launches into a wordless victory song, which the men join in singing – all except JOHN, who John: Monster. is sinking into an even blacker mood. The song builds to a frenzy. When it ends, the lights go WW: (unsure what he just heard) What? down on everyone but JOHN.) John: Freak! You’re sick! John: The war is over You’re only here It’s lost and won To suck young blood! And more than ever Pervert! Parasite! I am alone Where else would you find A hundred helpless boys? No family – no friends– I am no one at all– WW: John– And this wound in my leg– Will it never heal? John: Who would we tell? We’re all gonna die (WW appears on the other side of the stage. He Or at least lose our minds – looks deeply happy and relieved, humming to Who would believe – himself as he walks from bed to bed checking on the men. JOHN glares at him.) WW: John – what are you saying? My job is to love, WW: (to himself) My job is to know you “O Captain, my Captain As no one else could – Our fearful trip is done, The ship has weather’d every rack, John: To know us? What do you know? The prize we sought is won...” And who the hell are you? ...O Captain! Dear Father! Who are you? Who? These arms beneath your head! It is some dream that on the deck (A trembling pause. Over the course of the You’ve fallen cold and... following exchange, WW presents and offers the pages that he has been writing throughout the John: (aside; lines are overlaid with WW’s) opera.) ...There he is, the old sorcerer... He’s got them in the palm of his hand... WW: (faltering) He’s convinced them to stay alive... I – am the mate – and companion – of people, all...fathomless as myself – (WW sees JOHN, who immediately looks away. WW begins to move tentatively John: Who are you? towards him.) WW: (rapidly) I pass death with the dying and birth with the Libretto

new-wash’d babe– (During the following chorus, the back wall of John: Who are you? the hospital splits open, revealing the gaping WW: I am he that walks with the tender and chasm of the sky. The hospital breaks apart, growing night– dissolves, disappears; by the end of the interlude, the patients are left standing on a John: Who are you?? vacant stage. When they finish singing, they too WW: (furiously) depart, leaving the stage totally blank. Night, an I exist as I am, that is enough– open field..)

John: Who are you. 19. “O powerful western fallen star...”

WW: (brokenly) Chorus: O powerful western fallen star I bequeath myself to the dirt to grow from the Shades of night o tearful night grass I love. O great star disappear’d

John: Who are you? O cruel hands that hold me powerless O helpless soul of me WW: (flatly, resigned – falling to his knees) I answer that I cannot answer, you must find out O harsh surrounding cloud that will not free for yourself. my soul

John: (with an eerie calm at first, then with 20. “So this is it.” mounting rage) I’ll tell you then. (For a few moments, the stage is empty; we You’re a fraud, a liar see only grass, perhaps a small dirt road. A Who’s been found out. soprano voice joins the orchestral texture, like You want to take me with you a mysterious song heard from far away. Finally Since you know I’m all alone. JOHN stumbles in, much as he did in the Now you’ll have to find some other place hospital in the first scene. Breathing heavily, he To have your fun. staggers to a halt center stage.) Get out! I never want to see you again. John: So this is it. Get out before I tell them what you are! My time’s run out. The fighting’s at an end. (WW seems physically rocked by JOHN’s The hospital’s torn down. condemnation. He lets the pages of his writings fall to the ground. He steps away from JOHN (His attitude has changed from exhaustion and and begins to make his way out of the hospital. apathy into a kind of fury.)

He turns to the audience and addresses them Deserter – coward – traitor as he did in the Prologue.) To my only friend– I don’t deserve forgiveness– WW: This is how I left that place: Here let my life end Alone and confused as ever I’d been. And now the men with homes will make The death I desire their back, Is almost here And I…I walk without rest the wilds of this But if there’s a life broken land. After this one, I fear

(WW exits.) Libretto

I won’t be granted crossing I deserted the battlefield Out of this land... And disguised myself to be healed. I’ll never be welcomed Into Love’s hands... WW: It does not matter now. The soul does not know North or South— (By now he is nearly in a panic.) Is anyone there John: (interjecting) My letter was a lie. Is anyone listening? It all was code. If the Rebels had got it... 21. I am with you You could have all been killed.

(WW is seen approaching along the path, from (WW turns away, choking back his anger.) upstage. He walks slowly, steadily, more formally and more stiffly than he has thus far. He keeps WW: (to himself) This is hard—is hard to bear. a considerable distance between himself and I endangered the men in my care. JOHN, who hears his footsteps and turns. JOHN How could I have been so blind looks into WW’s eyes, then immediately turns To the scheming of his tortured mind? away and looks at the ground, his eyes filled (to JOHN) You are testing the limit for with tears.) forgiveness.

WW: I am with you John: (brokenly) Old man...forget me if you can.

John: Old man... (JOHN is nearly unconscious; WW rushes forward to hold him.) (JOHN is speechless; he can’t meet WW’s gaze. WW comes a little closer, restraining himself WW: John, this is your final hour. with tremendous effort. He speaks with a new, I will not let the last thing you say be “forget.” ritualistic calm, palpably suppressing his old I have loved you in spite of everything... feelings.) In spite of everything — There is more to you than you WW: I do not stand before you as a lover, And more to your life than you know! For you have broken every bond between us. I come as one who seeks to atone, Have I reached you? To serve again as everyone and no one. Have you heard me? I bring to you the love I bear to every blade of Speak if you can. grass, A love that will not alter, whatever may come (A long, tense pause – we are not sure if JOHN to pass. has died – finally he stirs in WW’s arms. He seems to be possessed by a vision. His music is John: You’d never forgive me newly radiant, free, lyrical. WW is mesmerized.) If you knew who I really am... 22. “Once...my regiment...” WW: No, John, tell me —­­­­ Tell me if you can! You called out because you want to confess– John: …once...my regiment...marched all Now put love to the test. night...through the Great Smoky Mountains... It was spring. The earth exhaled and the stars (JOHN finally turns and bravely meets breathed down. We walked in twos and threes, WW’s eyes.) silent, a thousand or more of us. I could hear my footsteps and the footsteps of my comrades. I felt John: I was...I was a rebel soldier. the earth welcome my feet and release them – Libretto

welcome, release...My soul clung to my body as (He picks up JOHN’s body and walks slowly a boy rides his father’s shoulders – as my body offstage.) rode the earth...In that moment, I was every soldier, walking in every war since the birth of 23. Final Chorus love and hate, I was each man and woman walking the night for as long as there’s been Chorus: When the stars in heaven had risen, night...And I loved this life. I turned to tell my captain what I’d seen... But my captain and father had vanished from (He turns to WW.) my vision.

Is that what you’ve shown me? I have not failed, O Captain, That life can be loved? To hear your voice like a column of ash, you who You even love the pain… dreamed You even love the bad… Of becoming a river...you are sleeping like You even love me. a river...

WW: Oh my son, You are singing and chanting the things that are I never loved another part of you, Till you. Worlds that were and will be, death and day,

John: Thank you. Nothing is final. No man shall see the end. (He dies. WW bows his head.) You will hardly know who I am or what I mean... (After a long pause he looks up, out into the But I shall be good health to you nevertheless. audience again.) Missing me one place, search another. I stop somewhere waiting for you. WW: What is it, then, between us? END