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THE NEW VICTORY® THEATER a Project of the New 42Nd Street, a Nonprofit Organization THE NEW VICTORY® THEATER A project of The New 42nd Street, a nonprofit organization NEW VIC BILL 2012-13 SEASON ® KIDS WEEKS Ready to get on your SUMMER feet and try something new? Spend a vacation week (or two!) FUN! with the New Vic! “I’ve gone three times THEATER and I still love it.” July 22 − August 2 – Jackson, age 10 Ages 7−11 • 9am−4pm CIRCUS June 17−21 Ages 7−10 • 9am−4pm Discover new skills, hidden talents Art: T and the thrill of performance! om Slaughte r , Photos: Alexis Buatti–Ramos NewVictory.org 646.223.3010 2 THE NEW 42ND STREET PRESENTS AT THE NEW VICTORY THEATER David Bruce and Glyn Maxwell'S Based on the novel by Philip Pullman CO-produced by The Opera Group and Opera North in association with ROH2 and Watford Palace Theatre CO-commissioned by The Opera Group and ROH2 Orchestra Partner Metropolis Ensemble U.S. PREMIERE MAY 2 - 12, 2013 COMPOSER LIBRETTIST DAVID BRUCE GLYN MAXWELL DIRECTOR CONDUCTOR JOHN FULLJAMES ANDREW CYR PERFORMERS MARY BEVAN, JAMES LAING, AMAR MUCHHALA, WYN PENCARREG, ANDREW SLATER ORCHESTRATION BY METROPOLIS ENSEMBLE DOUG BALLIETT, SARAH BEATY, OWEN DALBY, BRIDGET KIBBEY, DANIELLE KUHLMANN, BRITTON MATTHEWS, LUKE RINDERKNECHT, LANCE SUZUKI, STAS VENGLEVSKI PUPPETRY BY INDEFINITE ARTIclES STEVE TIPLADY & SALLY TODD DESIGNER LIGHTING DESIGNER DICK BIRD GUY HOARE ASSISTANT DIRECTOR CHOREOGRAPHER HANNAH MULDER Victoria Newlyn The New Victory Theater recognizes the generous support of American Express, corporate sponsor of The Firework Maker's Daughter. The New Victory Theater is supported, in part, with public funds from the National Endowment for the Arts; New York State Council on the Arts, a State agency; and from The New York City Department of Cultural Affairs, in partnership with the City Council. The Board of Directors, the New Vic Council, Friends of The New Victory and the theater’s dedicated patrons, corporate and foundation donors also provide essential contributions, helping to make possible programming of the highest quality. SYNOPSIS Lila—who lives in an imaginary land that brings to mind India, Thailand, China, Indonesia or some combination of all and none of those places—wants to be a firework maker like her father, Lalchand. Despite Lila’s natural talent, Lalchand believes this is an unsuitable job for a girl. Lila disagrees, and journeys to get Royal Sulphur from Razvani the Fire-Fiend at Mount Merapi, as all aspirant firework makers must do. To succeed in this quest, Lila must find protection from the Fire-Fiend's flames and bring Three Gifts to Razvani. Lila is unsure what these Three Gifts are. Luckily for Lila, her friends Hamlet, a white elephant, and Chulak, an elephant scrubber, manage to obtain Enchanted Water from the Goddess of the Emerald Lake, which will protect her from the fire. To Lila's surprise, the Fire-Fiend doesn’t challenge her on the Three Gifts, but she is devastated when he laughs at her request for Royal Sulphur. He tells her Royal Sulphur is just an illusion. On her return home, Lila learns that Lalchand has been imprisoned for the disappearance of Hamlet. To save his life, Lila and Lalchand must win the King’s Firework Competition against the best firework makers in the world. Upon their victory, Lila learns what the Three Gifts are and that deep down, she has carried them with her throughout her journey. The Firework Maker’s Daughter made its world premiere at Hull Truck in Yorkshire on March 23, 2013. Light the match and spark the flame. Tell everyone you know about the show! #fireworkmaker @NewVic A NOTE FROM THE COMPOSER Since my own childhood, I have thought of the theater as a colorful place of magic and fantasy, and as I've grown older, I am still attracted to those same aspects. For me there is not really a difference between children's theater and adult theater—as I see it, it's all "play" and we are all children. Philip Pullman seems to share a similar enjoyment of the fun and color of the theater. For me—as I think for Pullman—there is a direct connection between the sense of fantasy that can be created in the theater and a sense of spiritual and moral questioning. In the theater, we allow ourselves to wonder—to ask "what if"—and the question can sometimes be absurd or comical in nature, but other times be something much more profound. In a largely secular society, the theater is one of the few places where we can still ask ourselves the big questions and still feel wonder in all its aspects. My instinct as an artist is to set those big questions in a context that allows us to laugh, smile and relax. And this is one of the things that attracts me most about Pullman's story—it contains both the absurd and fun elements that make theater such a delight—talking elephants, a fire-fiend in a grotto, etc.—whilst at the same time making some profound points about the creation of art and the need for self- expression, friendship, courage and love. David Bruce, Composer, The Firework Maker’s Daughter 4 VISUALIZE THE VOICES Lila, Soprano Lila is a young girl who wants to be a firework maker just like her father. As she embarks on a quest across the land to become a firework maker, she learns all about herself and the inner strength she possesses. As a soprano, Lila is the highest female voice part in the production with a range similar to that of a violin. In opera, the soprano usually plays the heroine since a high bright voice traditionally suggests femininity and virtue. Hamlet, Countertenor Hamlet is the King’s treasured, love-sick and talking White Elephant. The king constantly punishes his enemies by making them take care of Hamlet, as he can only sleep in the finest sheets and eat the classiest food. But all Hamlet really wants is to be with his love, the elephant at the zoo. Hamlet is a countertenor, a type of classical male singing voice, with a range similar to a contralto or mezzo- soprano. The countertenor has developed the falsetto in his voice with such strength that it has power similar to a full-voiced sound. Often these singers possess the ability to sing in a lower male voice type as well. Chulak, Tenor Chulak is Lila’s friend and Hamlet’s caretaker. He hatches a plan to charge people to advertise on Hamlet, so the two of them can make enough money to run away. Along with Hamlet, he aids Lila in her quest to become a firework maker and remains her loyal friend. Chulak is a tenor, a high male voice part which sounds similar to a trumpet in range and tone. In opera, the tenor usually plays the young lover. Lalchand, Baritone Lalchand is Lila’s father and renowned firework maker. He tells his daughter that she cannot follow in his footsteps because he thinks that the profession is unsuitable for a girl. However, when Lalchand is imprisoned for Hamlet’s disappearance, he and Lila must work together to win the King’s Firework Competition and save his life. Lalchand is a baritone, a lower male voice part which sounds similar to the French horn in range and tone. Rambashi, Bass-Baritone Rambashi is Chulak's uncle and provides much of the comedic relief throughout the show, especially as he goes through various guises looking for a career. Rambashi is a bass-baritone, a voice part that has the low notes of the typical bass allied with the ability to sing in the low-lying baritone range. CAST Lila, Goddess, Young Girl..............................................................................................Mary Bevan (Soprano) Hamlet, Pirate, Ghost, Firework 1......................................................................James Laing (Countertenor) Chulak , Pirate, Ghost, Firework 2.............................................................................Amar Muchhala (Tenor) Lalchand, Sprite, Pirate, Razvani...........................................................................Wyn Pencarreg (Baritone) Rambashi, Keeper, Ghost, King....................................................................Andrew Slater (Bass-Baritone) Violin...................................................................................................................................................Owen Dalby Harp...............................................................................................................................................Bridget Kibbey Bass...................................................................................................................................................Doug Balliett Accordion....................................................................................................................................Stas Venglevski French Horn...........................................................................................................................Danielle Kuhlmann Flute...................................................................................................................................................Lance Suzuki Clarinet...............................................................................................................................................Sarah Beaty Percussion................................................................................................................................Britton Matthews Percussion..............................................................................................................................Luke Rinderknecht CREATIVE AND PRODUCTION TEAM Composer..........................................................................................................................................David
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