"The baby, assailed by eyes, ears, nose, skin, and entrails at once, feels it all as one great blooming, buzzing confusion; and to the very end of life, our location of all things in one space is due to the fact that the original extents or bignesses of all the sensations which came to our notice at once, coalesced together into one and the same space."
"We begin our September - and thus begin slinking toward The Fall - with Renegade Opera's production of Ashi Day's Waking the Witch, which opens this weekend at Chapel Theatre in Milwaukie. This production has, among other things (puppets for instance), two things to really distinguish it: the casting and the frame. Day originally composed the piece for a single countertenor, specifically as a one-singer opera; Renegade recasts the original's Witchfinder as two sopranos (Renegade co-founder Madeline Ross and Abigail Krawson),"
"When I was moving from just thinking about it to writing it, the Kavanaugh hearings were happening. In the past it felt like women weren't believed, and now Christine Blasey Ford was speaking her truth to a panel of men for the millionth time. And at this point, it wasn't that they didn't believe her: they didn't care. It was really heart-wrenching."
Renegade Opera stages Ashi Day's Waking the Witch at Chapel Theatre in Milwaukie. The production includes puppetry and distinguishes itself through casting and sociological framing. Day originally composed the piece for a single countertenor; Renegade recasts the Witchfinder as two sopranos, Madeline Ross and Abigail Krawson, portraying an elder Witchfinder training an apprentice. Renegade's immersive approach positions the audience as the accused, with Witchfinders targeting attendees and creating an ominous, confrontational atmosphere. Composer Ashi Day linked the opera's themes to the Kavanaugh hearings and the pain of women's testimony being ignored.
Read at Oregon ArtsWatch * Arts & Culture News
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