“Big Jim & the Small-time Investors” will open Cutting Edge Concerts in 2018
“Big Jim & the Small-time Investors” will open Victoria Bond’s 2018 Cutting Edge Concerts on April 9 at the Thalia Theater, Symphony Space, on the Upper West Side, New York City.
This music-theater opera by Eric Salzman is about an L.A. con man who claims to have invented a virtual reality machine that permits the viewer to imagine his or her wildest fantasies are coming true. The libretto is by Ned Jackson and Eric Salzman, the score by Salzman and Victoria Bond will conduct and music direct. This production will include the instrumentation of accordion, keyboards, strings and percussion. It follows two workshops by the Center for Contemporary Opera at the Flea Theater and the Faison Firehouse Theater. The stage director and stage designer will be Justin Meredith Brown. The title role of Big Jim will be performed by Scott Joiner; other cast members will be announced shortly.
20 Years of Cutting Edge Concerts
Victoria Bond’s review of the twenty years of her Cutting Edge Concerts on New Music Box <http://www.newmusicbox.org/articles/twenty-seasons-of-cutting-edge-concerts/> includes a nice paragraph on her performance of “The True Last Words of Dutch Schultz” with Theo Bleckman (who originated the role in Europe) and directed by Valeria Vasilevski (who put the libretto together out of Dutch Schultz’s actual last words and directed the original European touring production). Victoria also directed the Symphony Space production with Dirk Weiler (directed by Grethe Holby) which was a feature of the 2007 Wall-to-Wall Opera Marathon.
Kristin Norderval recently posted the following:
“WOW. What a year it has been!!
Beyond the political turbulence, there were many personal firsts.
2016 saw the premiere of my first full-length opera -The Trials of Patricia Isasa – at the Monument National Theater in Montreal; the release of my first CD on a jazz label; and the first performance in New York of ‘Cassandra Ground Zero’, a one woman opera written for me by Eric Salzman in 2001 that has had multiple performances in Europe but none in the US until this year in a new production expertly directed by Kira Simring and produced by the Center for Contemporary Opera. In the fall of 2016 I also had the honor of creating the soundscore for a new jill sigman/thinkdance production – Weed Heart – and participating in multiple related talk-backs and community meetings focused on issues of sustainability and racial justice. All of my work this year felt extremely relevant to the big issues that we are grappling with at this time.”
For those who need an introduction, Kristin is a hugely talented Norwgian-American singer, composer and computer performer!. Her No. 1 achievement in 2016 was the premiere of her own work, “The Trials of Patricia Isasa”, based on the true story of a survivor from the dark period of Argentine fascism not so many years ago. I believe that, unbelievably enough, Patricia Asasa herself attended the premiere which was very well received in Canada although, as usual with important American work abroad, it was ignored here. Anyway it’s an honor to be No. 2 on her 2016 hit list. It was a wonderful performance of “Cassandra” (produced by the Center for Contemporary Opera in collaboration with The Cell) and it can be seen on YouTube!
Ed Shockley, a writer and playwright from Philadelphia, wrote the libretto for “Bobos”, a hip-hop opera, with James McBride which I produced with the American Music Theater Festival. His post was a generous plug for the Oxford New Music Theater book that I wrote with Thomas Desi:
“James McBride and I worked this Eric Salzman several years in Philadelphia as we were doing “Bobos.” This is an important book. James McBride and I worked almost ten years to make it but Eric Salzman was the only one who was not afraid to say the work “Hip-Hop-Opera. (See number 367 in this book.)
My old collaborator, Michael Sahl, is not well and has moved out of his apartment to a care facility while several of his associates — Beth Anderson, Laurie Speigel, Steve Rathe — have been collecting his scores and recordings for an archive at SUNY Buffalo where Michael was an artist in residence years ago. This is not the place to go into Michael’s distinguished, long and prolific career but Michael and I wrote six music-theater works in collaboration. They are “The Conjurer” (Public Theater; directed by Tom O’Horgan); “Civilization & Its Discontents” (AMDA, NPR, published by G. Schirmer, recorded by Nonesuch Records; currently available on Labor/Naxos); “Stauf” (our cabaret Faust; performed at Cubiculo, Philadelphia Theatre Company/American Music Theater Festival); “Noah” (commissioned by the N. Carolina School of the Arts; performed at Pratt Institute, Washington Sq. Methodist Church and the Jewish Center for Services for the Aged; WBAI); “The Passion of Simple Simon” (Theatre for the New City; WNYC); “Boxes” (KCRW/APR, Seagram Award, National Music Theatre Network, Victory Theater NYC). “Boxes” was the only work in which text and music were credited separately (music by Michael, text by Eric Salzman; the others were words-and-music collaborations). All of these are full-length theater/opera works except “Civilization” which is a one acter.
Apparently none (or very little of this material) has been found in Michael’s apartment so I have been working on collecting, updating and digitizing the scores and recordings in my possession to make them available for the archive.
Date Posted // December 11, 2016
In Categories // Boxes, Civilization & Its Discontents, Civilization and Its Discontents, Music Theater, News, Noah, Sahl/Salzman collaborations, Staif, The Conjurer, The Passion of Simple Simon