Looking to see an old production from a few seasons ago that you just couldn't get out of your head?
How about an old radio broadcast of a past performance that was just so good, you still think about it?
This is where you’ll find it.
We’re digging up many of your favorite classic productions and broadcasts from the archives and bringing them directly to you.
THURSDAY APRIL 4, 2020
FROM THE VAULT IN PARTNERSHIP WITH BETH MORRISON PROJECTS
Thanks to Beth Morrison Projects (BMP)-- our incredible partner on nine productions of new works over the past six seasons-- we’ll be streaming a live recording of the contemporary opera that took REDCAT by storm in 2015 as part of our Off Grand series, Dog Days.
Together with BMP, we share this with deep gratitude to the incredible artists whose work you see here. They have enthusiastically given their permission for the work to be made available free of charge.
CONTENT WARNING: Because of the subject material's violence, mature themes and adult language, Dog Days is not recommended for children.
For credits and more about the production, see below:
Composed by David T. Little
Libretto by Royce Vavrek
Based on the short story "Dog Days" by Judy Budnitz
Directed by Robert Woodruff
Music Direction by Alan Pierson
Assistant Direction by Ashley Tata
Scenic and Video Design by Jim Findlay
Lighting Design by Matt Frey
Sound Design by Garth MacAleavey
Costume Design by Vita Tzykun
Props Design by Jeremy Lydic
Featuring vocalists James Bobick, Marnie Breckenridge, Cherry Duke, Michael Marcotte, Peter Tantsits, Lauren Worsham, performance artist John Kelly, and with chamber ensemble Newspeak: James Johnston, Taylor Levine, Hannah Levinson, Eileen Mack, Kris Saebo,Heidi Schaul-Yoder, Brian Snow, Peter Wise, and Molly Yeh
Commissioned and Produced by Peak Performances @ Montclair State University (NJ) in association with Beth Morrison Projects
Tour produced by Beth Morrison Projects
For more information on touring Dog Days, please contact email@example.com
About Dog Days
Dog Days is a work of contemporary music-theatre from celebrated composer/librettist team David T. Little & Royce Vavrek that incorporates elements of opera, musical theatre, and rock-infused-concert music, to investigate the psychology of a working class American family pitted against a not-so-distant-future wartime scenario. This black comedy asks: is it madness, delusion, or sheer animal instinct that guides us through severely trying times? Where lies the line between animal and human, and at what point must we give in to our animal instincts merely to survive?
The country has fallen into chaos as an undefined war rages on US soil. Roads are closed except for military use. There is no work. Progressively, the schools close. Food runs out. The power gets shut off. Neighbors mysteriously vanish. Those without homes beg for food at the porches of those who do, but no one has anything to give. A family of five—parents, two sons, and a young daughter, Lisa—do what they can to survive. They eat wild grass from the yard. The father goes hunting every day, but all the animals have fled. “They know something we don’t,” he says. One day, Prince arrives.
Prince, a man in a dog suit, befriends Lisa and provides her with an escape from the isolated boredom of daily life. Lisa’s mother supports this friendship, though Lisa’s father, Howard, opposes it. Prince is Lisa’s pet—her only friend Howard confronts Prince. “Stand up,” he says. “You’re a human being, for God’s sake. Stand up like a man… I’ll give you my own clothes if you’ll… stand up like a man and talk to me. I know you can talk.” Prince barks; Howard chases him away. Conditions continue to worsen. It’s winter now. Dark early, and cold. The family hasn’t eaten in weeks, maybe months. “I wish I had a steak,” says one brother. The other brother adds “I heard in China people eat…” Silence.
MONDAY, MARCH 30, 2020
FROM THE VAULT
Our #LAOAtHome broadcast of Carmen is here and we couldn't be more excited about it. How will you be listening at home? (Living room flamenco is highly encouraged.)
Carmen Listening Guide: With listening tips, questions to help you analyze the plot and characters, and a scene-by-scene breakdown, you'll master the sounds, recognize the foreshadowing, and understand the depth of this operatic masterpiece. (Designed for students in grades 7-12, but helpful for everyone!)
This production was made possible by:
Music by Georges Bizet
Libretto by Henri Meilhac and Ludovic Halévy
Conductor: James Conlon
Carmen: Ana María Martínez
Don José: Brandon Jovanovich
Escamillo: Alexander Vinogradov
Micäela: Amanda Woodbury
Zuniga: Philip Cokorinos
Le Dancaïre: Theo Hoffman
Le Remendado: Brian Michael Moore
Moralès: Juan Carlos Heredia Baritone
Frasquita: Liv Redpath
Mercédès: Kelley O'Connor, mezzo-soprano
A Vendor: Melissa Treinkman Weitenberner
Another Vendor: Abdiel Gonzalez
LA Opera Orchestra
LA Opera Chorus
Chorus Director: Grant Gershon
Los Angeles Children’s Chorus
LACC Artistic Director: Anne Tomlinson
Director: Ron Daniels
Scenery Designer: Gerardo Trotti
Principal Costume Designer: Denitsa Bliznakova
Costume Designer: Jesús del Pozo
Lighting Designer: Duane Schuler
Choreographer: Nuria Castejón
Fight Choreographer: Ed Douglas
Recorded September 2017
ARTISTS are represented by the American Guild of Musical Artists, each PRINCIPAL ARTIST, the Stage Director and the Associate and
Assistant Director(s), the Choreographer and Assistant Choreographer(s), the
Stage Manager, and the Assistant Stage Manager(s) and the Chorus and
Artists herein are represented by and appear courtesy of the American Guild of Musical Artists and the AFM - American Federation of Musicians, AFL-CIO.
Audio Producers: Fred Vogler and Todd Reynolds
Audio Assistant: Brad Cobb
Post-Production Assistant: Ignazio Terrasi
Title translation by David Anglin, called by Linda Zoolalian.