Wednesday | Jun 10, 2009

Opera for Kids Workshops

Opera Omaha enters the world of summer workshops! Opera for Kids is a fun and interactive week-long camp aimed at upper elementary and middle school aged children (those entering 3rd -8th grade). The Opera for Kids workshops will run August 3-7, 2009 from 9:00 am to 3:00 pm. Morning sessions center on acting, dancing and singing, while afternoon sessions touch on the history, poetry and musical interpretation of children’s operas such as this season’s Brundibar. Parents and family are invited to attend the “Friday Finale” – a free noontime presentation of classic opera scenes performed by the students. For more information or to register contact Opera Omaha at or at 402-346-7372.

Tuesday | May 05, 2009

Spring Time | Time to Subscribe

Hello my Darlings, FL (aka the Fat Lady) here and loving spring time! Everything is blooming and I just received my Opera Omaha subscription information in the mail – So much OPERA, plus the bonus offerings! I hope to see you at Mozart 101. Follow my example and send back your subscription before 5/31 – I saved money and got my favorite seats.
I also want you to mark your calendar for the evening of July 24. Opera Omaha will present an open-air production of Das Barbecü, a country western spoof of Wagner’s Ring Cycle, outside of The KANEKO at 1111 Jones Street as part of Mutual of Omaha’s Wild About Omaha Weekend – June 24-25, 2009. Das Barbecü, based on the book and lyrics by Jim Luigs and music by Scott Warrender, showcases the talent of six local actors playing more than 30 outrageous characters at breakneck speed. The music style ranges from Broadway to Texas swing and from jazz to country two-step. Das Barbecü is an irreverent, slightly risqué, old-fashioned musical that is fun for everyone. It is going to be great fun, plus it FREE and open to the public.

Friday | Apr 17, 2009

Jim Sale – Lighting Desinger for La Boheme

I have often found that good design decisions can always be dissected after the fact, but seldom before. Development of the act 2 fly cues is a case in point.

Act 2 of John Conklin’s La Boheme is unique. He designed 7 flying scrims and doors and 2 sets of hanging lamps. These flying pieces work with a large rolling unit up stage right (Café Momus) and 2 free standing posters. The total effect is a collage of Toulouse-Latrec posters plastered on a wall that matches the joy and diversity of the bohemians.

The scene can be set in many different ways. I was fortunate to be able to watch a piano tech of act 2 without lights. Garnett Bruce, our director, turned to me right before the rehearsal started and asked me if I would think about the fly cues. He turned around and we started the rehearsal. The tech started with just about all of the pieces in view, at their low trim. My first jolt was that I was not looking at a night scene, as written by Puccini, but at the Bohemian’s world of art, joy, and laughter, mixed in with a little jealousy and heartache. My next thought was that the Bohemians bring this world with them.

My scheme started with the Café Momus. The 2 free standing posters and the Paris street scene on the scrim backdrop alone, made for a beautiful night scene. As I watched the rehearsal I started to make notes about which scrim should fly in and when. All of these cueing moments were based on action on stage such as Schaunard’s entrance, Colline and the coat, Mimì and the hat. We found later that these moments were also spot on musical. Dispel the night and bring on the light!

Au vista fly cues have to be handled with exact timing and a skillful fly crew. My hat is off to Pat, our head flyman. We provided the timing. My hat is off to us, too, for that matter. We were finally completed by the time the Bohemians entered the Café. We were no longer in a Paris night, but in a world of light – the Bohemians world.

Magic time in the theater. We set the cues in a lighting rehearsal and then ran them while listening to a CD I asked that each of the fly cues be slow. It was better than I ever imagined, smiles all around. At one point while setting these cues we heard somebody practicing on a piano in the lobby. They were working on act 2, about 10 measures behind us. This situation could have been very confusing, but I suddenly understood that the cueing, slower than the music, could not quite catch up to the musical world of the Bohemians. Nothing could catch up to them that night.

I, like the Bohemians, had a blast!

Friday | Apr 10, 2009

Jeremy Kelly – Marcello in La Boheme

It may sound strange, but I liken a theatre to a ship, and a performance to a voyage. Once the Maestro takes the podium the entire space sets sail. The watchers see the majesty of the journey – LIVE theatre happening before their eyes. Only a lucky few get to experience the excitement of the action backstage. So many people work, watch, and wait. They spring into action with precise timing, performers and stagehands working in perfect balance. Everything backstage is in low-light and shadows, giving all the actions an ethereal feel. The older the ship, the more special it is, and the Orpheum is one of those very special houses. How many shows have come and gone on this stage? How many performers have been nervous about stepping out of the curtains? How many tears have been shed, and laughs had? This coming week, I get to contribute to the history of this house, and it is my honor to do so with such a talented group of artists. I would not miss it for the world, and neither should anyone else. We have a special show for you… take my word for it!

Thursday | Apr 09, 2009

Tom Corbeil – Colline in La Boheme

So, we’ve been in Omaha for two weeks now, and with the show going up in less than a week, I think that perhaps it’s time to share with you what I like to call my ‘Bohème Scorecard’ – a wee glimpse into the life of your standard-issue rehearsal process, work related and otherwise:
- Number of hours spent in staging rehearsals thus far: ~50

- Number of hours spent in the Milwaukee airport on the way to Omaha from New York: 6.5 (I missed my connection. Oops.)

- Number of times I cried while we rehearsed the last part of act 4: 2 (okay okay, 3)

- Number of times we somehow ended up in Iowa: 2 (Incidentally, Ross – our Schaunard – was driving on both occasions)

- Favorite prop in the show: Schaunard’s coins (after forgetting them in my pocket at nearly every rehearsal, I’ve managed to assemble quite a nice collection of them at home)

- Favorite sign in Omaha: ‘Gizzards Are Back!’ (at Popeye’s Chicken near our house)

- Number of glasses broken in rehearsal before we switched to plastic: 2 (pretty sure that was Ross’ fault too)

- Number of wonderful shows I saw in Omaha in the last week: 3 (a fantastic production of West Side Story at Creighton, an Omaha Symphony concert featuring the astounding Edgar Meyer, and a rockin’ performance by Omaha’s own folk/country/bluegrass band, The Black Squirrels!)

- Amount of wine I attempt to drink in the last minute of act 2: ~2 bottles

- Character trait that separates this Colline from other performances of La Bohème: Kleptomania (keep an eye out!)

All of us involved in Bohème greatly enjoyed our time here – we hope to see you at the opera next week!



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