As One

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“Hannah. Like every other boy. Unlike every other boy.

Aligned, at peace, with her own body.”

 

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Saturday, October 3 at 8 p.m.

Sunday, October 4 at 2 p.m.

Friday, October 9 at 8 p.m.

Saturday, October 10 at 8 p.m.

 

At Atlas Performing Arts Center

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Music and Concept by Laura Kaminsky
Libretto by Mark Campbell and Kimberly Reed
Film by Kimberly Reed

STARRING

Luis Alejandro Orozco as Hannah Before
and
Ashley Cutright as Hannah After

Robert Wood, conductor
Octavio Cardenas, director

Adam Crinson, scenic design
Sarah Riffle, costume and lighting design

AS ONE tells the story of a transgender protagonist, as she endeavors to resolve the discord between her Self and the outside world.

Click her picture below to watch Kimberly Reed’s six-minute film about AS ONE on NYTimes.com!

SYNOPSIS

AS ONE is a chamber opera in which two voices – Hannah After (Ashley Cutright) and Hannah Before (Luis Alejandro Orozco) – share the part of a sole transgender protagonist. Fifteen songs comprise the three-part narrative; with empathy and humor, they trace Hannah’s experiences from her youth in a small town to her college years on the West Coast, and finally to Norway, where she is surprised at what she learns about herself. Read the AS ONE Libretto

FAQ

  • Is AS ONE appropriate for children? We recommend AS ONE for people age 15 and up. There is very brief mature language, and description of violence against transgender people.
  • Can I read the libretto online? Absolutely. You can read it here, just click on the link. AS ONE Libretto
  • Where can I find out more about AS ONE? AS ONE was commissioned by American Opera Projects, and their website has press reviews from the New York production, as well as background information about the piece. Visit them at www.operaprojects.org. Or, visit our press page for some excellent local coverage about our own production! Just click here.

ABOUT THE CAST

Ashley Cutright, mezzo soprano, recently made her Opera Neo debut in the title role of Carmen. This is quickly becoming a signature role, as one of her upcoming engagements will be singing Carmen with Enid Symphony Orchestra. Other roles include Stephano in Roméo et Juliet, Tisbe in La Cenerentola, Catherine Wright in Shining Brow, Chief Elder in The Giver, Jordan Baker in The Great Gatsby (Tulsa Opera); Florence Pike in Albert Herring (Opera on the Avalon); Sister Mathilde in Dialogues of the Carmelites, Olga in Eugene Onegin (Des Moines Metro Opera); Cecilia March in Little Women, Alisa in Lucia di Lammermoor (Opera North); Katisha in The Mikado (Skylark Opera); Ottavia in L’incoronazione di Poppea, Berta in Il barbiere di Siviglia (Pensacola Opera). An avid performer of new music, Ashley has performed in many contemporary works which include the premiere of the song cycle Fear and Trembling by Kyle Werner, the role of Katia in The Singing Violin by Simon Sargon, and Ellen in Three Sisters who are not Sisters by Ned Rorem.

Mexican American baritone, Luis Alejandro Orozco is an El Paso Texas native. Orozco is as graduate of the artist diploma program at the Cincinnati Conservatory of Music at the University of Cincinnati. He has performed with such companies as Opera Saratoga, Opera Santa Barbara, Des Moines Metro Opera, and El Paso Opera, Cincinnati Opera, Lexington Philharmonic, Syracuse Opera, Florida Grand Opera, Opera Naples, Opera Theatre of St Louis, Arizona Opera, Washington National Opera, and The Aspen Music Festival.

Orozco has performed the roles of Figaro in Il barbiere di Siviglia, Escamillo in La tragédie de Carmen, Don Giovanni, Giulio Cesare, Count Almaviva in Le nozze di Figaro, Tarquinius in The Rape of Lucretia, Harry Easter in Street Scene, Le Podestat in Le Docteur Miracle, Taddeo in L’Italiana in Algeri, Marcello in La bohème, le Dancaïre in Carmen, El Payador in Maria de Buenos Aires, and Riolobo in Florencia en el Amazonas.

Overseas, Orozco has performed the role of Papageno in Mozart’s Magic Flute with The Seoul International Opera Festival in South Korea, and was a part of the Kennedy Center World Stages Festival in the premiere staged reading of Fallujah by composer Tobin Stokes in 2013.

Born in the city of Guadalajara, Mexico, Stage Director Octavio Cardenas received his Bachelor of Music from Centenary College in Louisiana, a Masters in Music from the University of South Carolina and a Master of Fine Arts in Theater from the School of Theater, Film and Television at UCLA. After serving as an assistant director for Austin Lyric Opera’s Production of The Bat he joined the Minnesota Opera Artists Program for 4 consecutive seasons. He served as Assistant Director for all main stage productions and taught acting and movement for the members of their resident program.

He has been on the directing staff at Chautauqua Opera and currently is the Head of Directing Staff at Des Moines Metro Opera and the Director of Baylor Opera Theater at Baylor University, where he produces and directs all the ensemble performances as well as teaching Acting for Singers I and II and Audition Techniques. While working at Minnesota Opera he had the opportunity to direct Andrew Sinclair’s production of The Pearl Fishers. Other directing credits include Susannah for Loyola Opera Theater, which won the award for “Best College Production 2012” by the Gambit Magazine in New Orleans, Brundibar and The Giver for Project Opera at the Minnesota Opera, Plump Jack and The Impresario for the Butler Opera Center, Silent Night with Fort Worth Opera and Lyric Opera of Kansas City, Rappaccini’s Daughter for Des Moines Metro Opera and an upcoming production of Die Fledermaus for Baylor Opera Theater.

Adam Crinson is a Scenic Designer currently based out of New York City. He studied his craft at Wayne State University in Detroit, MI where he pursued a BA in Theatre/Design. He recently spent his fifth summer with Des Moines Metro Opera as the Assistant Scenic Designer on Jenufa, La Fanciulla del West, and The Abduction From The Seraglio while also collaborating with Octavio Cardenas as the Scenic Designer for Rappaccini’s Daughter. Upcoming projects include Sweeney Todd with Louisiana State University, Alcina with University of Kansas, Die Fledermaus with Baylor Opera, and Strawberry Fields with Joyce Castle.

Lighting and Costume designer Sarah Riffle hails from New York City, where she has collaborated with such companies as Vital Theater, ReGroup Theater, Urban Research, Dicapo Opera, and The Directors Company. Regionally she has worked with Lincoln Park Performing Arts Center, BalletMet Columbus, Baylor Opera, Chautauqua Opera and North Carolina Dance Theater. She currently holds the position of Lighting Supervisor at the Tribeca Performing Arts Center. You can see examples of her work at slriffledesign.com

ABOUT THE AUTHORS

Recently appointed Composer-in-Residence at American Opera Projects, Laura Kaminsky is a composer with “an ear for the new and interesting” (New York Times), whose music that is “full of fire as well as ice, written in an idiom that contrasts dissonance and violence with tonal beauty and meditative reflection.” (American Record Guide) New works and performances include: an Oboe Concerto for the Orchestra of St. Luke’s that received its world premiere at the Skirball Center with soloist John Snow, and is slated for a 2015 performance in Tokyo with soloist Matt Sullivan; a quartet (clarinet, violin, cello, and piano) for Ensemble Pi; and a Piano Quintet for Ursula Oppens and the Cassatt Quartet. Her Piano Concerto (Koussevitzky Award 2011) with Ursula Oppens, soloist, will be performed in North Carolina in spring 2015. A multi-media collaboration with the Fry Street Quartet, Dr. Rob Davies, artist Rebecca Allan, and photographer Garth Lenz, The Crossroads Project, has been touring the US since 2012.

Kaminsky has received support from the National Endowment for the Arts, Koussevitzky Music Foundation, Opera America, New York State Council on the Arts, Aaron Copland Fund, Chamber Music America, American Music Center, USArtists International, CEC ArtsLink International Partnerships, Likhachev Foundation, Kenan Institute for the Arts, Artist Trust, Seattle Arts Commission, North Carolina Arts Council, Meet the Composer, and others. She has received six ASCAP-Chamber Music America Awards for Adventurous Programming and the Polish Ministry of Culture National Heritage 2010 Chopin Award. Kaminsky serves on the national advisory council of Cornish College of the Arts in Seattle and on the board of directors of the Hermitage Artist Retreat in Florida. She is a professor in the School of the Arts at Purchase College/SUNY. www.laurakaminsky.com

Born in Washington DC, Mark Campbell has written librettos for 15 operas and lyrics for 5 musicals. His most known work is Silent Night, which received the 2012 Pulitzer Prize in Music, appeared on PBS’ Great Performances and has entered the modern opera repertory with unprecedented rapidity. Other successful operas include: Volpone, Later the Same Evening, Bastianello/Lucrezia, Rappahannock County, The Inspector, As One, and, most recently, The Manchurian Candidate. Mark has received a Grammy nomination, 3 Drama Desk Award nominations, 2 Richard Rodgers Awards, a NYFA Playwriting Fellowship, and was the first recipient of the Kleban Foundation Award for Lyricist. He also serves as a mentor for American Opera Projects, Washington National Opera’s American Opera Initiative, American Lyric Theatre, University of Colorado’s New Opera Workshop and Opera Philadelphia’s Composer-in-Residence program. Premieres in the next two years include: The Shining (Minnesota Opera), Memory Boy (Minnesota Opera), Empty the House (Curtis Institute), Body Business (Music-Theatre Group), Dinner at Eight (Minnesota Opera), When to Say Nothing (Houston Grand Opera), The (R)evolution of Steve Jobs (Santa Fe Opera), and Elizabeth Cree (Opera Philadelphia). www.markcampbellwords.com

Kimberly Reed is a filmmaker living in New York City. Her work has been featured on media outlets such as the Oprah Winfrey Show, CNN, NPR, Details magazine, and The Moth Radio Hour. Her work has made her one of Filmmaker Magazine’s “25 New Faces of Independent Film,” a New York Foundation for the Arts (NYFA) fellow, and has led to multiple fellowships at the Yaddo Artists’ Community and the Squaw Valley Community of Writers. Kimberly Reed directed and produced PRODIGAL SONS, a “whiplash doc that heralds an exciting talent.” PRODIGAL SONS, a co-production with BBC Storyville and Sundance Channel, premiered at the prestigious Telluride Film Festival. The film has gone on to be shown around the globe in theaters, at over a hundred film festivals, and on worldwide television. The film landed on multiple Best of the Year lists and garnered 14 Audience and Jury awards, including the esteemed International Film Critics’ FIPRESCI Prize. Ms. Reed was recognized as Towleroad’s “Best LGBT Character of the Film Year,” The Advocate’s “Five to Watch,” and OUT Magazine’s “Out 100.” She was also the producer/editor/writer for PAUL GOODMAN CHANGED MY LIFE, released theatrically by Zeitgeist Films. Kim is a proud GLSEN and NewFest board member, a Queer/Art/Film mentor, a summa cum laude graduate of UC Berkeley, and a Montana native. www.kimberlyreed.com