At the pinnacle of San Cha's opera Inebria me, an apparition in white emerged: Esperanza (Kyle Kidd), angelic and blood-smeared, clutching a red rose. Dolores (San Cha, the show's librettist and composer) gazed at the spirit, her expression a blend of awe and longing, the unraveling newlywed finally alight with something beyond grief. Her encounter with Esperanza sparked a radical, gender-free religious fervor, one of ecstasy and drama, detached from self-flagellation or duty.