Blood Moon is a poetic, opera-theatre piece for three characters who encounter the past on the night of a full moon: a nephew who returns to the mountain-top where he left his aunt to die forty years earlier, the ghost of the aunt he abandoned, and the moon that presides over this night of reckoning. A contemporary response to a 15th century Noh play, Blood Moon uses choreography, puppetry, and a Taiko-infused score to create a meditation on the end of life, the nature of joy, regret, and whether atonement is possible.
Produced and commissioned by Beth Morrison Projects
Blood Moon is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and by public funds from The New York City Department of Cultural Affairs in partnership with the City Council
Photo Credit: Maria Baranova
Students and teachers can get a free rush ticket upon presenting valid ID. There is a limit of 1 ticket per person, and the ticket will be given out just before the House closes and the show begins. Entirely subject to availability.
55 Lexington Avenue
New York, NY 10010
Subway: 6, R, N, M, F, or 1 to 23rd St.
Bus: M1, M2, M3, M5, M7, M15, M18, M23, M101, M102 to 23rd St.
Accessible Seating and Assisted Listening Devices are available upon request. Please visit the Baruch Performing Arts Center website for more information on Accessibility.
Parking lots are located:
- -On 3rd Avenue between 24th and 25th Street.
- -On 24th Street between Lexington and Third Ave.
- -Three garages on 24th Street between Second and Third Ave.
(Composer) has created more than a dozen opera-theatre productions in the US and Europe, work that “has combined elements of opera, dance, Indian raga, Japanese Noh theater and more into fusions that have both a ritualistic intensity and an improvisatory freedom…a groundbreaking hybrid…a strong, unified and strikingly individual utterance of unambiguous beauty” (The New York Times). His work has been profiled in the Wall Street Journal and Los Angeles Times. His Noh-inspired opera KOCHO received its world premiere by Beth Morrison Projects in New York City; YOSHINAKA, in collaboration with Tokyo-based Noh master Munenori Takeda and the 25-year Fisher Ensemble received its world premiere at Seattle’s ACT Theatre. Garrett’s music can be found on the BIS label (THE PASSION OF SAINT THOMAS MORE is part of their 30 year/30 disc commemorative series and earned 10/10 from Classics Today). Wall Street Journal critic Brett Scott writes, “Among American composers of his generation, Garrett stands out because of the way he’s assimilated such diverse global musical and other artistic influences into a distinctive, original…sound. And he’s successfully created a strong collaborative process for making multimedia productions that may be a sustainable model for independent twenty-first-century American composers.”
(Librettist) is an award-winning playwright and actor. Her plays include Tongue of a Bird (The Public Theater, The Mark Taper Forum, Oregon Shakespeare Festival, the Almeida Theater, London), A Narrow Bed,(New York Theater Workshop, Actors’ Theater of Louisville), Iphigenia and Other Daughters (Classic Stage Co., NYC) Trojan Women (The Flea, NYC), Infinity’s House (Actors’ Theater of Louisville), Helen, (The Public Theater) The Persians,(National Actors’ Theater, NYC, Shakespeare Theater, DC), Oedipus (The Guthrie), Ajax in Iraq (ART Institute, MA, Flux Theater, NY), Septimus and Clarissa (Ripe Time, NY) Pericles (Orlando Shakespeare Festival), and Penelope (Playmaker’s Rep, N.C.) Her work has been performed in New York, Off-Broadway and regionally as well as overseas. Among her honors are the Susan Smith Blackburn Prize, the Lila Wallace—Reader’s Digest Writer’s Award and the Helen Merrill Award for Playwriting. As an actor, she is most well known for having originated the part of the Angel in Tony Kushner’s Angels in America, appearing in all workshops and productions of the play through its original run on Broadway, ’93-94. Most recently: Shakespeare Theatre in D.C. has produced the world premiere of her Oresteia, which they commissioned, Michael Kahn directing.
(Director) is a director, deviser, writer, educator and the founding artistic director of Ripe Time in Brooklyn, NY. She has devised, choreographed, and directed the world premieres of the critically acclaimed Haruki Murakami’s Sleep (BAM Next Wave Festival, Yale Rep, Annenberg Center), The World is Round (BAM-Fisher, Obie Award, Special Citation, Finalist for 2014 Richard Rodgers Award), Septimus and Clarissa (Joe A. Calloway, Drama Desk, Drama League nominations) at the Baruch Performing Arts Center, Fire Throws (based on ANTIGONE) at 3LD, Innocents (based on Edith Wharton’s The House of Mirth), Betrothed (based on stories by Jhumpa Lahiri, Chekhov and S. Ansky) at the Ohio Theatre. Other: Kamala Sankaram’s Thumbprint (LA Opera, Prototype), Vijay Iyer and Mike Ladd’s In What Language? (Asia Society, REDCAT, PICA). Winner of the 2015 LPTW Lucille Lortel Award. Nominated for the 2014 Alan Schneider Award and the 2014 and 2015 Doris Duke Impact Award. BA, Yale College. Associate Professor, Conservatory of Theatre Arts at Purchase College, SUNY (2011-present). Upcoming: Desire by Hannah Lash with Jack Quartet at the Miller at Columbia (Fall 2019), Blood Moon by Garrett Fisher/Ellen McLaughlin at Prototype 2020, Candidate X (Ripe Time) in 2020-21.
(Music Director) is heading into his fourth season as General and Artistic Director of the Chautauqua Opera Company. Chautauqua Opera’s 2019 season will bring new productions of Rossini’s Il barbiere di Siviglia, ¡Figaro! (90210) adapted by Vid Guerrerio from Mozart’s Le Nozze di Figaro, and The Ghosts of Versailles by John Corigliano, including a festival weekend (July 25, 26 & 27) when one can experience the entire Beaumarchais Trilogy on three consecutive nights. Chautauqua Opera welcomes its fourth Composer in Residence, Gilda Lyons; and anticipates the return of Opera Invasion, the company’s multi-year audience development initiative.
The 2018/19 season saw Steve conducting Britten’s The Turn of the Screw at The Juilliard School, in a production directed by John Giampietro. He was Conductor Mentor for Washington National Opera’s American Opera Initiative, and led the world premieres of 75 Miles, Relapse and Pepito in January. In February he was at Opera Columbus to lead the world premiere of The Flood by Korinne Fujiwara and Stephen Wadsworth.The season concludes with the much anticipated return of As One to New York City for the first time since its premiere in 2014.