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JAN 15TH, 2016
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opera america 2015 presentation

See production presentations from the most promising young director-designer teams and meet the artists who created them. The Robert L. B. Tobin Director-Designer Showcase is a biennial competition that identifies emerging director-designer teams, each of which has developed a production proposal from a diverse list of American operas.


For Immediate Release
Contact: Patricia Kiernan Johnson;


Four Teams Will Present Concepts to Opera Producers at
Opera Conference 2015 in Washington, D.C.

New York, NY – OPERA America is proud to announce the 2015 finalists of the Robert L.B. Tobin Director-Designer Showcase, a biennial program offered as part of OPERA America’s continuing effort to foster emerging opera artists. The showcase, made possible through support from the Tobin Theatre Arts Fund, was established to bring promising talent to the attention of the field and connect these directors and designers with those who are in a position to advance their careers.

Forty applicant teams of directors and designers each created a production concept for an American opera, chosen from a diverse, curated list. As part of the application process, each team submitted a production concept that included visions for staging, scenery, props, costumes and required personnel.

The 2015 Director-Designer Showcase finalist teams are:


The Cradle Will Rock (Marc Blitzstein)

Alison Moritz, director
Charles Murdock Lucas, set designer
Dina Perez, costume designer
Kyle Grant, lighting designer

This concept presents The Cradle Will Rock as modern music-theater, not a footnote in the history of 20th-century theater or dated agitprop. The team’s staging uses functional tools to cut artifice and ask big questions: For whom do the people work? Who does the engine of labor serve?

These four production designs were selected by panelists Izumi Ashizawa, director and producer; Todd Hensley, lighting designer and theater consultant, Schuler Shook; Drew Landmesser, deputy general director, Lyric Opera of Chicago; Tobin Ost, scenic and costume designer; and David O. Roberts, costume designer. As opera is an intrinsically collaborative art form, the projects chosen were selected not only because they demonstrate the requisite creativity and skill, but because they display true collaboration, creative vibrancy and collective passion.

The finalist teams will each be given $2,000 to be used toward further research and the production of more comprehensive renderings and models. Each team will also be mentored by one of the panelists as they prepare the final presentation of their designs. Up to two representatives from each team will be provided with transportation, lodging and registration to attend Opera Conference 2015 in Washington, D.C, where they will present their proposals to opera producers at a special live-streamed session as well as network with conference attendees. At the most recent Director-Designer Showcase, held in 2013, over 80 opera producers attended the presentation and more than 18,000 viewed the live stream. Over the next two years, each team will also have their designs featured in a six-month exhibition at the National Opera Center in New York.

Director Walker Lewis, one of the 2013 finalists, stated, "Presenting our work at Opera Conference 2013 provided the opportunity to meet so many opera professionals face to face, forming important relationships that I can now strengthen and nurture for years to come. That experience gave me the confidence to continue expanding my circle of opera colleagues and to think more creatively and boldly about possible opera projects," he continued.

As a direct result of their Showcase experience, members of the 2013 finalist teams received engagements with member opera companies, including Amarillo Opera, American Opera Projects, Gotham Chamber Opera, Music-Theatre Group, Opera Columbus, Opera North, Opera Philadelphia and Opera Theater of Pittsburgh. These finalists have also since worked with Central City Opera, Edinburgh Fringe Festival, Labyrinth Theater Company, NBC (for the telecast of the Sochi Winter Olympics), Pittsburgh Opera, Second Stage, Tulsa Opera and on various film and television projects.

"OPERA America is uniquely positioned as the field’s convener and connector to advance the careers of the most talented creative artists," stated Marc A. Scorca, president/CEO of OPERA America. "The Robert L.B. Tobin Director-Designer Showcase enables us to support the career development of stage directors and designers and, through them, further the artistic development of the opera form."

For more information about OPERA America and its services,
visit @OPERAAmerica

About OPERA America
OPERA America ( leads and serves the entire opera community, supporting the creation, presentation and enjoyment of opera.

  • Artistic services help opera companies and creative and performing artists to improve the quality of productions and increase the creation and presentation of North American works.
  • Information, technical and administrative services to opera companies reflect the need for strengthened leadership among staff, trustees and volunteers.
  • Education, audience development and community services are designed to enhance all forms of opera appreciation.

Founded in 1970, OPERA America's worldwide membership network includes nearly 200 Company Members, 300 Associate and Business Members, 2,000 Individual Members and more than 10,000 subscribers to the association's electronic news service. In response to the critical need for suitable audition, rehearsal and recording facilities, OPERA America opened the first everNATIONAL OPERA CENTER ( in September 2012 in New York City. With a wide range of artistic and administrative services in a purpose-built facility, OPERA America is dedicated to increasing the level of excellence, creativity and effectiveness across the field.

OPERA America’s long tradition of supporting and nurturing the creation and development of new works led to the formation of The Opera Fund, a growing endowment which allows OPERA America to make a direct impact on the ongoing creation and presentation of new opera and music-theater works. Since its inception, OPERA America has made grants of nearly $13 million to assist companies with the expenses associated with the creation and development of new works."


"State of the Art, and Art of the State: A Gender Bend in Alison Moritz's The Cradle Will Rock



Yesterday Corinne Hayes called us to action with an exciting look at The Cradle Will Rock. Today will look at a different way this explosive piece questions our notions of power and gender.

Director Alison Moritz is currently the Resident Assistant Director at Minnesota Opera. She has also served on the directing staffs at Wolf Trap Opera Company, Opera Theatre of St. Louis, Atlanta Opera, and Chautauqua Opera.

Together with set designer Charles Murdock Lucas, costume designerDina Perez and lighting designer Kyle Grant, Alison formed a team to look at this list of American operas. Here she discusses the collaboration.

Almost immediately, our team discovered a mutual drive to engage with the world through art that speaks to our own political and social experiences, and we spent a lot of time considering each opera and its relevance today. We were struck by the timeliness of Marc Blitzstein's The Cradle Will Rock, a work that felt uncannily apt given the context of this summer’s labor disputes at the Metropolitan Opera.

The Cradle Will Rock is structured as a series of flashbacks and vignettes, exposing the members of a so-called Liberty Committee in Steeltown, USA. One by one, we learn how the pillars of the community (including leaders of the church, newspaper, education, arts, and medicine) fell under the sway of Mr. Mister's empire, selling themselves for power and prestige and ultimately becoming part of a societal machine that treats the working class as disposable. 

I won't go into the specifics of our production concept here, but there's one detail of our concept which I believe is germane to the discussion at hand this week at Opera Think Tank - Idea Power from Women

As a team, we wanted to bring The Cradle Will Rock into the 21st century. After some discussion, it became apparent that we could not imagine a millennial Liberty Committee without a single female member, so we decided to recast the role of Editor Daily as a woman. Casting a female Editor Daily requires very few changes to the existing text, but it creates a series of subtle but important realignments in the power dynamics of the opera...."

See the full article here: State of the Art, and Art of the State: A Gender Bend in Alison Moritz's The Cradle Will Rock