I’m still reeling from the genius and uniqueness of the sold-out micro-opera festival I attended this last Friday evening!! Presented by One Ounce Opera at DaDaLab, this was the 8th edition of Fresh Squeezed Ounce of Opera (FSOO), and something you must experience firsthand to really GET. IT. Like kids.
Being an opera connoisseur wasn’t a prerequisite to be impressed by literally everything this production had to offer. In fact, it is designed with people like me in mind who are new to it.
The idea is to present micro-operas in English, any genre, any topic (including cannibalism). The libretto being in English surprised me because I associate opera with European languages. But don’t let this accessible and creatively unconventional style of opera fool you. It isn’t subpar opera. These performers are experts at their craft, just in a more approachable setting.
I helped myself to a front row center seat ready for the singers to blow my face off, which they absolutely did. I could feel their vibrato resonating in my chest and face. 65 minutes of intelligently crafted stories that showcased some of Austin’s best opera singers was spectacular, and after being infused with these extraordinary voices, I was certain I could probably sing like them now. (I tried after and alas. I can’t.)
As an avid subtitle user, I could clearly understand everything that was said and sung. Oh opera singers. Bless you and your enunciation.
Prior to attending, I thought only of the incredible voices ahead, but across the board, the acting was as magical as the singing, which wasn’t on my radar.
Although the show consisted of 3 micro-operas that couldn’t be more dissimilar to one another, the show in its entirety had a meaningful arc.
Stage directed and produced by Julie Fiore, the festival was thoughtfully programmed. As the executive and artistic director for One Ounce Opera, she somehow curated a show that seamlessly combined a horror/comedy, sci-fi drama, and sci-fi rom com. Her use of the space was brilliant, having actors entering from behind the audience at times, making their way up to the stage while singing. It was Dolby THX unplugged.
Technical director and lighting designer Matt Smith configured a wide landscape projection behind the stage adding a layer of realism and mood to each story.
The pianist and musical director, Joseph Choi, did a great service to the composers, presenting sounds that stretched my ears, widening my range of musical experiences in the theatre.
The first micro-opera in the festival was Having Guests for Dinner, an uproarious take on cannibalism, with chaotically sophisticated music by Nicholas Bentz + libretto by Robert Ellingsworth Feng. I must meet this librettist for the punny cannibalism idea alone which had to be satisfying to write. The cast consisted of the very funny and mesmerizing Annisha Mackenzie as Laura, Brian Minnick as Marcus, and Stephen Maus as Christoph.
The second micro-opera, Mud Girl, told a beautifully poignant story by Christine Evans, with captivating music by Omar Najmi. Mud Girl gave me the physical sensation of a tightening in my chest when Andrea Ochoa, who played River, gave a painfully heart-wrenching performance when her guardian, Maude, played by Hillary Schranze, traumatically upset her. Rounding out the cast was Avery LaRue and Annaliese Sandoval, playing Poly I and Poly II, respectively. Strong, compelling performances by all, leaving me feeling very moved.
But then. THEN. Comic relief! The final micro-opera, Forever, let us end on a ridiculously happy note being a brainy sci-fi love story. With playful music by Elizabeth Gartman + hilariously smart libretto by Melisa Tien, this intricately composed piece was plastic and tardigrade polyamory at its finest. The costumes were risky and loud, which dazzled me. I have to know who came up with them. Paige Patrick as Wrapper, tenor Lucas Hickman as Wristband, and Liz Cass as The Tardigrade played well with each other, delivering captivating and humorous performances.
The venue, DaDaLab, felt deeply artsy from the outside mural to the indoor royal blue lighting to the complimentary bar, and beyond. The opportunity to mingle with the audience and creatives after the performances was a generous idea, and felt like a party in a fine art gallery. I left feeling more knowledgeable about opera and more cultured than when I walked in.
A huge congratulations to everyone involved! And also, thank you to Julie Fiore for inviting me to this unforgettable experience! And my first invited show!
I’m so looking forward to the 9th FSOO next summer!
Thank you so much for this lovely review! We had so much fun and are stoked that you enjoyed it. By the way, My crazy wig was made by production manager Carol Brown, who also did all the tardigrade and muddy makeup.