BIZET VIA JUPITER
We are appropriating the music of Bizet and the legend of Carmen for queer purposes.
Some of these characters are trans, some are cis, some are closeted, some are wayyyy out. But the dramatic and narrative beats remain intact: The cop is still a toxic creep; the entertainer is still a sexy force of nature; the hometown girl is still brave and pure. And Carmen, as always, is still a stone-cold baddie and passionate scofflaw.
& production notes
Carmen, living life on their own terms, meets closeted lesbian and rookie cop Josée. Sparks fly, but they're the sparks of toxicity, chaos, and drama. When Escamilla, a trans pop star with a huge online following, enters the scene -- and Josée's hometown ex Micaela shows up looking for answers -- fate forces change, as it always does.
A modern downtown. A bodega, a dispensary, a sticky-floored gay bar. A human tapestry of cops, queers, casual drug dealers, and serious hustlers.
CARMXN is a vehicle for tenor Sara Couden. Primarily known internationally as a world-class contralto, Sara will be making her onstage debut in a tenor role as Josée. Changing the gender of the character changes the tenor (not sorry) of the entire work.
With a few judicious libretto tweaks and creatively interpretive titles, CARMXN comes alive in a fresh, relevant, radically queer context.
Escamilla is now a vehicle for the girlies who do Giovanni; Carmen is for the boys who languish year after year in trouser roles. We're making ways to continually see and represent ourselves in the canon.