My search for a venue has once again begun in earnest. I have a couple already identified and I'm working on getting a letter out before I leave for Rolla on June 21. The thing is, I can't really speak about Passion in short, bullet-points. There has been so much work done on the project in terms of working through staging, the sound design, the set, etc, that I find myself going on and on. Below is what I've tentatively written out to accompany the letter to prospective venues, most of which are churches, btw.
The story concentrates on the universal themes of love, betrayal and redemption, but also on the primordial relationships of mother/son and devoted friends. Contemporary touchstones include a justice system swayed by political pressures and the execution of someone who is innocent.
The text of Passion is from the Bible, sacred music and Jewish prayers. The Old Testament provides text for Mary, Mary Magdalen and Judas, and verses used as projections to reveal prophecies fulfilled. The most dramatic elements of the story are drawn from all four gospels. Creating the bulk of Passion solely from the Bible allows a straightforward telling of the story devoid of specific denominational doctrine, derogatory remarks or anti-semitism.
The music follows the arc of the story, starting with taize music - chants with one line of text and a single melody. As the show progresses, more text is sung and harmonies are added until the crucifixion which has the most complicated music in the show, Benjamin Britten's One Ever Hangs/Agnus Dei, from his War Requiem. Music is sung by the principal actors and a separate chorus.
The concept for Passion is based on Suzuki and Viewpoints, two very physical approaches to theatre, to recreate sacred works of art (DaVinci's Last Supper, Michelangelo's La Pieta) and accomplish the brutal physicality of the story. Projections highlight the fulfillment of prophecies from the Old Testament and the set is extremely simple. The production rests on the structure of a tenebrae service with seven candles lit at the beginning of the show and being snuffed out one by one until Christ's death on the cross. The audience also plays a role in Passion. From the staging, to seating arrangements, to sound design and music, they are meant to be an integral part of the story.
The players include union and non-union professional theatre artists, community players designated as disciples (non-speaking roles) and Simon of Cyrene, and a singing chorus.
So I ask you, my 4 followers, does this make things clear?
The story concentrates on the universal themes of love, betrayal and redemption, but also on the primordial relationships of mother/son and devoted friends. Contemporary touchstones include a justice system swayed by political pressures and the execution of someone who is innocent.
The text of Passion is from the Bible, sacred music and Jewish prayers. The Old Testament provides text for Mary, Mary Magdalen and Judas, and verses used as projections to reveal prophecies fulfilled. The most dramatic elements of the story are drawn from all four gospels. Creating the bulk of Passion solely from the Bible allows a straightforward telling of the story devoid of specific denominational doctrine, derogatory remarks or anti-semitism.
The music follows the arc of the story, starting with taize music - chants with one line of text and a single melody. As the show progresses, more text is sung and harmonies are added until the crucifixion which has the most complicated music in the show, Benjamin Britten's One Ever Hangs/Agnus Dei, from his War Requiem. Music is sung by the principal actors and a separate chorus.
The concept for Passion is based on Suzuki and Viewpoints, two very physical approaches to theatre, to recreate sacred works of art (DaVinci's Last Supper, Michelangelo's La Pieta) and accomplish the brutal physicality of the story. Projections highlight the fulfillment of prophecies from the Old Testament and the set is extremely simple. The production rests on the structure of a tenebrae service with seven candles lit at the beginning of the show and being snuffed out one by one until Christ's death on the cross. The audience also plays a role in Passion. From the staging, to seating arrangements, to sound design and music, they are meant to be an integral part of the story.
The players include union and non-union professional theatre artists, community players designated as disciples (non-speaking roles) and Simon of Cyrene, and a singing chorus.
So I ask you, my 4 followers, does this make things clear?
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