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PROTOTYPE 2013 exceeded our expectations. Audiences praised the raw emotional turmoil of Sumeida’s Song, the courageous relevance of Soldier Songs, the seductive aesthetics of Bluebeard, the avant-garde sounds of Timur and the Dime Museum, and the darkly imaginative landscape of Aging Musician. The New York Times enthused, “a wildly promising new opera and music theatre festival,” and New York Magazine pronounced, “Prototype is the teenage hacker of the opera world, and in its first public action, it’s left a message blinking on Big Opera’s screen: CAN YOU DO THIS?”
For PROTOTYPE 2014, we’re thrilled to follow up with five works that are equally as compelling. The inspiring example of the young Pakistani woman Muktar Mai in Thumbprint, by composer Kamala Sankaram and librettist Susan Yankowitz, where Eastern and Western influences delightfully converge; the crushing ineluctability of Paul’s Case, by Gregory Spears and Kathryn Walat, that narrates the doomed attempt of a young man to escape his social condition; the mythic hallucinations of Visitations: The War Reporter and Theotokia, that reflect the complexity of human consciousness and the weight of memories; and the dark beauty of Angel’s Bone, a new work by Du Yun and Royce Vavrek, that stands at the crossroads of chamber music, opera, cabaret, theatre, and storytelling.
Once again, we are proud to spotlight the high-caliber creations of an exciting new generation of composers and collaborators. PROTOTYPE 2014 will take place from January 8 to January 19 – we hope to see you there!
“The contemporary mini music drama has found its impresarios in Kristin Marting, Beth Morrison, and Kim Whitener. They’re the nimble founders of Prototype, a pop-up festival that should quickly evolve into a New York institution.”
— New York magazine, January 2013
“A new festival featuring music-theater premieres, but in completed, ready-to-tour productions rather than Vox’s more workshop style.”
— The New York Times, January 2013
“PROTOTYPE Opera/Theatre/Now is just the sort of creative emergence we love at Exit Strata — a space in which there is no question that it’s time to do away with any remnant associations between classical music and anything stodgy or antiquated.”
— Exit Strata, February 2013