A special seasonal prediction from the all-knowing and all-seeing Mme. Operatoonity:
Listen to me, darlings. Your favorite haunts for Halloween weekend are going to be the Ruba Club in downtown Philly and the Kevin D. Marlo Little Theatre at Harcum College in Bryn Mawr because of a powerful double bill of immersive opera theatre, courtesy of Opera Upper West.
The New York based company announces three Philly-area performances of #TheCell, a contemporary pairing of Menotti’s The Telephone and Poulenc’s La voix humaine in celebration of National Opera Week.
Thematically, the work combines two amazingly complementary sides of dramatically different pieces featuring young lovers whose passions are obscured in the technology that binds them–the dreaded cell phone–in one clever and often haunting masterwork. Though both pieces revolve around a mobile device, I promise you that this talented and spirited young company is definitely not phoning it in.
The chamber opera runs Friday, October 28 at 8pm at the Ruba Club (416 Green Street, Philadelphia 19123) and on Saturday, October 29, and Sunday, October 30 at the Kevin D. Marlo Little Theatre at Harcum College (750 Montgomery Avenue, Bryn Mawr, PA 19010).
The production stars Rachel Sigman as Elle, Meghan Mae Curry as Lucy, and Matthew Lulofs as Ben and is directed by Alexandra Fees, artistic director of Opera Upper West, who promises that operagoers will never hear their phones ring the same again after experiencing this work.
The New York Times has lauded the work as a “A captivating experience…almost voyeuristic,” and by New York Classical Review as “beautifully crafted, and troubling to watch.”
I stopped in on a run-through yesterday at Harcum College. #TheCell augurs to be perfect Halloween weekend fare because its powerful themes, shared in such an intimate setting, will haunt you–that’s the trick part. The performances will delight you–and that’s the treat.
Alexandra Fees took time out of her busy schedule to answer a few questions about #TheCell for Operatoonity readers.
How did you decide to combine these two pieces in a single bill?
The Telephone and La voix humaine feature strong female leads obsessively immersed in their phones to gain connections that have already been lost. The two operas of 30 minutes each are musically and dramatically opposite: The Telephone (Menotti) is a fresh and hilarious farce, revealing a snapshot of modern relationships as Ben tries to propose to Lucy who can’t stop texting. La voix humaine (Poulenc) is an exposed and sensual drama in which a woman is stuck in a murderous room on the phone with her ex-lover. Thematically, however, these two pieces intertwine as young lovers attempt to bypass the technology that isolates them.
As Isaac Mizrahi, honorary chairman of National Opera Week, said of social media: “The greatest parts of our civilization are being tested.” Our cell phones simultaneously connect and isolate us. Rachel Sigman, starring in La voix humaine, calls phones our “modern monsters”: Phones carry our secrets. Phones are with us at all times. Phones create intense anxiety at the thought of their death. Phones, as in #TheCell, create multiple levels of truth at any moment, separating the voice from the body — what is said from what is meant. A person can be anywhere and convince you they are somewhere else.
The compositions of Menotti and Poulenc, at one time dramatized, now seem eerily prophetic and on target in today’s world. This work is especially appropriate at Halloween, where we come face-to-face with our monsters that are typically overlooked.
Where did this show premiere and when?
This show premiered this summer at Cafe Tallulah’s underground cocktail lounge for the inaugural NY Opera Fest hosted by NY Opera Alliance, a consortium of independent opera companies in New York.
How did you choose Philadelphia for a location for this production?
At the production’s conception, we were looking to give more opportunities to emerging singers, especially women, by performing the chamber opera with several different casts and observing how the show would change based upon the actors in each role. The Philadelphia cast features Rachel Sigman as Elle, Meghan Mae Curry as Lucy, Matthew Lulofs as Ben, and is accompanied by Kat Bowman.
We are thrilled to be hosted by two great venues: Ruba Club (Oct 28) is a historic Russian Club in downtown Philadelphia with a vintage cabaret space and cocktail bar. At Friday night’s kickoff, we will have an after party with drinks, dancing and billiards! The Kevin D. Marlo Little Theatre (Oct 29-30) at Harcum College is an intimate space in the heart of Bryn Mawr. Holding a rich history of experimental theatre, the facility was recently restored in honor of Kevin D. Marlo, a passionate actor who was killed during the September 11th attack on the World Trade Center.
How was Opera Upper West founded?
Opera Upper West was founded by myself (Alexandra Fees) and Aine Hakamatsuka, two New York based singers, to explore immersive opera as authentic drama rooted in the human experience. The first season featured The Marriage of Figaro as a real-time wedding in which audience members were the guests, complete with champagne toast, wedding cake, and throwing of the bouquet.
Can you characterize Opera Upper West’s niche?
Opera Upper West draws people who are looking for unique entertainment and social experiences, who want to explore something new, and who are interested in experiencing music theatre (opera) for the first time. For those who are seasoned operaphiles, our events are an opportunity to breathe in the musical drama from up close.
What are your future plans for the company? Short-term? Long-term?
Opera Upper West invests in educating emerging singers in a new approach to acting in opera, beginning with understanding the human experience and applying that understanding to the roles we play onstage. In the future, we would love to set up sister-boutique companies throughout the United States so that Americans have the opportunity to feel ownership over the art form and can look forward to experiencing chamber opera theatre as a social event.
Is there a role for chamber opera (a more intimate opera experience) the way to attract more millennial operagoers?
Creating a social event within a chamber opera, especially one concerning technology and its ironic ability to break down lines of connection, is a riveting experience for anyone involved in these digital platforms. We guarantee that you will never hear your phone ring the same way again.
Anything else you want to tell me about this show or yourselves?
Tickets are $35 General Admission and $45 VIP Premium Seating and can be reserved at www.OperaUpperWest.Eventbrite.com. Cash Bar available at Ruba Club, and Halloween after-party included every night.
For more information, please contact
Alexandra Fees, Artistic Director