The Barber of Seville by Rossini liberates giant puppets to do exactly what their physical nature allows and suggests. They can fly, multiply, expand and contract. Music, visuals and text are not subservient to each other. Each tells the story in its own language and in its own way. The audience is liberated to create as well
The Golden Cockerel is a cautionary tale about a foolish Czar, as relevant today as when written in 1834 by Pushkin. Cathy Nepomnyashchy created a new translation and Raphael Mostel arranged a score for 5 musicians derived from Rimsky-Korsakov’s 1907 opera.
The Happy Prince’s tragic ending
Karen Kandel narrated Oscar Wilde’s story. Daniel Barnidge created music on prepared piano inspired by Malcolm Williamson’s score for The Happy Prince. David Neumann choreographed featuring traditional Chinese Opera performer Guo Yi as the swallow.
Acis and Galatea
Handel’s lyrical oratorio opera Acis and Galatea is not supposed to work for children. St. Luke’s Children’s Free Opera and Danc” series believed that with puppets we could succeed in captivating school audiences. And we did.