JOSEPH TWIST & FINEGAN KRUCKEMEYER
THE GRUMPIEST
BOY IN THE WORLD Merlyn, The Coopers Malthouse 2 - 4 October 2015 1
WELCOME Victorian Opera has turned ten! To celebrate this special milestone, we have created a brand new Australian opera for children that will inspire our audiences of the future in this magical art form. To everyone past and present who has come on this journey, our audience, our supporters, our artists, the State Government of Victoria, our Artistic Director Richard Mills, our Founding Music Director Richard Gill, our board and staff, we give our heartfelt thanks. In 2015, a brave new world of opera awaits. Join us and discover a local company that is redefining opera and helping to build its future. Find your world at victorianopera.com.au
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ARTISTIC DIRECTOR'S MESSAGE
RICHARD MILLS work for young people is internationally recognised for its excellence, speaking so eloquently through its fanciful qualities which, despite their sometimes zany appearance nonetheless communicate directly with young audiences – who are, after all, the adult audiences of the future. Both creators have given us a work which is itself a journey of discovery for its principal character – a journey into the awareness of the unique qualities of every human person and a celebration of those qualities. The Grumpiest Boy in the World is also itself a part of Victorian Opera’s continuing journeys of discovery – undertaken by travelling many new roads – but particularly the roads which lead to the creation of the new and the marvellous: such as this engaging freshly minted opera. We hope that our adventures into new territory will result in encounters for young people which bring them face to face with the wonderful complexity of an art form – and send them on their own individual voyages of discovery which will enrich them for a lifetime.
Life is a constant journey of discovery in our business. I first met Joe Twist when I was directing the Tasmanian Symphony Orchestra Composers’ School quite a few years ago now. I had a feeling for where his career might go and suggested he go to the USA to try to work in film or theatre. To my surprise, he followed my suggestion – and has recently orchestrated his first Broadway show, living in New York and commuting to California for other projects. He is a born vocal composer – so he was an easy choice as an opera composer, as was Finegan Kruckemeyer as librettist. Finegan’s
Richard Mills Artistic Director
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DIRECTOR'S MESSAGE
CAMERON MENZIES rehearsal room. It is also a real delight for me to be able to tailor roles and the production with the Composer and Librettist and then in turn to work with the cast and our creative team to allow them to create fully-formed characters within this lyrical art form. Productions of this nature have multi-faceted motivations and outcomes. Whether it’s to provide our cast with the opportunity to experience working with direction and staging, music staff, production and creative teams or whether it is to spark an interest in young audiences to come to see more opera. For me, it is always about crafting great opera and great storytelling through what I believe to be the most potent art form.
The Grumpiest Boy in the World has been such a treat to work on and direct, from its first week of workshops last year and then right through our rehearsal period to our opening night. This is the second production that I have had the privilege to direct that has been both a Victorian Opera commission and an opera cast with highly talented youth performers. In my career, I have been lucky enough to have directed quite a few new Australian works and I am always excited to work on something new, especially with a youth cast because of the energy and imagination they bring to the
Working with text from Finegan Kruckemeyer, composition from Joseph Twist, collaborating again with set and costume designer Chloe Greaves and with lighting from Joseph Mercurio, this amazing creative team have all come together to create the world for our young lead called Zachary Briddling. Together, we are set to a take you on a fun ride through Zachary’s imagination to find out if he really is The Grumpiest Boy in the World. Cameron Menzies Director
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LIBRETTIST'S MESSAGE
FINEGAN KRUCKEMEYER So it went with this project, as a story that began life as a play in England, now switches costume and reenters the theatre as an opera in Australia. Richard Mills and Libby Hill first sowed the seed with the prescience and bravery that comes with great artistic directorship, inviting me to embark on a new adventure, as partnered with brilliant composer Joe Twist (a name that cries out to become a character in one of my future plays!). They recognised the potential for a Grumpiest Boy spoken to be a Grumpiest Boy sung, and the musical world that Joe then crafted has an energy of its own – it is a score that, to this layman’s ear, is playful and textured and very hard to be grumpy about at all. It’s always a wonderful thing to experience your words being brought to life onstage.
I am so excited to now fly north from my island home to sit beside you and see it brought to life by director Cameron Menzies’ sure hand, see it guided by Simon Bruckard’s baton, and see it rendered visible by Chloe Greaves’ stunning design.
Before entering the rehearsal room, they sit there in printed form, polite and quiet and waiting – before that joyous moment when an actor lifts them off the page and breathes life into them. Suddenly that text is something to be shouted, or whispered, to be passed quietly between friends, or thrown across a theatre in anger. That transformation, from words scribbled down, to words picked up, is a pleasure.
The play’s hero Zachary Briddling wishes to become something new and so sets himself off into an unknown wilderness, exciting and unnerving in equal measure. This story, it seems, wishes to do the same – it has journeyed across art forms, been awed by those encountered (opera singers in rehearsal rooms, as opposed to ogres in caves), and emerged the better for it.
But there is another, even more magical, transformation that I’ve been able to experience from time to time – and that is to witness a line of dialogue being rolled around the wonderful, labyrinthine mind of a composer, being married with just the right notes, and finally being delivered (in all its operatic glory) by a masterful singer.
So to Victorian Opera for the invitation, and to you for the attendance, I offer thanks. Finegan Kruckemeyer Librettist
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COMPOSER'S MESSAGE
JOSEPH TWIST Circus music, jazz, chaotic cadenzas, powerful crescendos and colourful orchestral flourishes are contrasted with moments of great triumph and introspective pathos as Zachary’s journey of self-discovery unfolds. Melodies and musical motifs create unity throughout the everchanging musical journey, reflecting Zachary’s struggle to be anything but 'middling' and his relationship with the characters around him. Zachary sings two slow, simple melodies, the first of which is associated with moments of sadness and despair, first heard with the words “stuck on the fridge door is all I can wish for.” The second theme represents Zachary’s sense of hope and optimism, first heard as he embarks upon his magical journey with “I launch into my travels, searching for something strange.” These two themes are developed and intertwined throughout, most notably during Zachary’s sad ‘arioso’: “As the world turns and the seasons pass.” These melodies of pathos are contrasted with faster, more complex, chromatic musical motifs which represent Zachary’s limitless imagination and, of course, his many grumpy tantrums.
Wonderful stories and characters are my favourite sources of inspiration in my music, whether I am writing a film or TV score, concert work, a musical, or an opera. Writing music for Finegan Kruckemeyer's wonderfully magical story of a grumpy boy finding his place in the world was an honour and a delight. The kaleidoscope musical language of The Grumpiest Boy in the World reflects Zachary's journey to strange landscapes, his encounters with fantastical characters, his boundless imagination and his many fits of anger.
Joseph Twist Composer
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MANAGING DIRECTOR'S MESSAGE
ANDREW SNELL are a number of lead and supporting cast featured in this performance that have also appeared in the company’s past Youth Opera productions; and our conductor Simon Bruckard is a current student in the Master of Music (Opera Performance), presented in partnership between Victorian Opera and Melbourne Conservatorium of Music, The University of Melbourne. Simon recently conducted the regional tour of our ANZAC commemorative production, Remembrance, and continues to prove himself to be one of the most promising and versatile young musicians. We’re thrilled to be playing our part in his professional development. Welcome to The Grumpiest Boy in the World! It is with great pride that Victorian Opera presents its annual Youth Opera one specifically designed for both younger audiences and younger performers. The company was launched with a Youth Opera performance back in 2006 with a production of Britten's Noye’s Fludde. Staging these Youth Opera productions has since become an integral part of each year’s program.
Beyond those seen on stage, the music, lyrics and libretto for this joyously imaginative production are the work of two of Australia’s brightest theatrical and musical minds; Finegan Kruckemeyer and Joe Twist. They have created a new work to delight children and families while introducing them to the joy of opera. Victorian Opera is able to present these important productions and continue to commission new works through the generous assistance of the Victorian Government through Creative Victoria, The Robert Salzer Foundation, our philanthropic supporters – especially our New Work Syndicate and Education Syndicate, and our many corporate partners. It is thanks to this support that Victorian Opera can inspire the next generation of talent and introduce younger audiences to this wonderful art form.
We are also proud to be presenting another newly commissioned work. Developing both the next generation of talent and commissioning new works is a part of our institutional DNA; The Grumpiest Boy in the World unites the brightest young creative talent. In this performance, you will see young performers from a number of Victorian Opera’s programs. Our chorus includes several students from the Victorian Opera Youth Chorus Ensemble (VOYCE); there
Andrew Snell Managing Director
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PRODUCTION
THE GRUMPIEST BOY IN THE WORLD 2 - 4 October 2015 Merlyn, The Coopers Malthouse
Creative Team
Running time approximately 50 minutes.
Librettist Finegan Kruckemeyer
Composer Joseph Twist Conductor Simon Bruckard
Acknowledgements
Director Cameron Menzies
Resolution X, Imported Theatre Fabrics, Melbourne Theatre Company, Malthouse Theatre.
Set & Costume Designer Chloe Greaves Lighting Designer Joe Mercurio Lighting Associate Nick Glen Production Manager Shane Lee Stage Manager Andrea Corish Assistant Stage Manager Luke Hales Repetiteurs Phillipa Safey, Tom Griffiths Cast Zachary Jacob Lawrence Zachary 2 Alastair Cooper-Golec Mum Shakira Tsindos Dad Matan Franco Scientist #1 Kiran Rajasingam Scientist #2 Stella Joseph-Jarecki Giant Darcy Carroll Girl Rhian Tuohy Bird Lizzie Barrow Grump 1 Stephen Marsh Grump 2 Emily Crawford
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Victorian Opera Youth Chorus
Zachary McCulloch
Sarah Amos
Zac Mistri
Emilia Bertolini
Giovanni Napoli
Madeleine Crombie
Joshua Tomlinson
Yasmin Gower
Matan Franco
Annabel Hunt-Smith
Oscar Harwood
Harmony Lee
Aidan McGartland
Eliza O’Connor
Lachlan McLean
Lisha Ooi
Callum MacDonald
Annabelle Planincic
Daniel Jasper
Mikahl Venneri
Secondment Conducting Student Rachel Amos
Miriam Whiting-Reilly Kristina Fekonja
Secondment Repetiteur Megan Stellar
Chloe Harris Monika Harris
Orchestra Victoria
Sheridan Hughes Sara Kogan-Lazarus
Concertmaster Clare Miller
Saskia Mascitti
2nd Violin Sarah Coghlan
Farah Mohd Hisham
Viola Tom Higham
Lauren Sibree
Cello Paul Ghica
Lilli Stevens
Bass Emma Sullivan
Imara Waldhart
Clarinet Nick Evans
Megan Whiteside
Trumpet Carl Harvoe
Michael Edwards
Percussion Lara Wilson
Andrew Fraser
Keyboard Phillipa Safey
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2016 FAMILY MEMBERSHIPS Taking the family to Victorian Opera is an exciting and affordable experience. Introduce children to the magic of opera with two family performances, Cinderella and The Pied Piper, in July 2016 at Arts Centre Melbourne. Family memberships start from $45 for children victorianopera.com.au | 1300 822 849 10
THE GRUMPIEST BOY IN THE WORLD
SYNOPSIS ‘My normal is killing me, Mother!’ shouts the boy, throwing crayons. She reminds him he is only normal here, though would be very different in strange places filled with hairy things, flying things, giant things and tiny things. Zachary realises he would and sets off with backpack to the lands of giants, and monsters, and talking birds. As he meets these strange creatures, they realise how alike they are to Zachary. He becomes even grumpier that they can’t see how different he actually is! Zachary storms off, sure his fate is sealed – Zachary Briddling is as middling, and average, and normal, even more than he thought. There is not a single thing that makes him special.
Zachary Briddling has great plans for himself. When he draws, he imagines himself a wonderful, terrible king: riding a lion down the road, with a crown as high as the sky! But when the crayons go away, he’s forced to admit it’s not like that. Because Zachary (aged 7 years, 4 months, and living in the 9th house on 10th Street, with one mother and one father) is a strange one. What is extraordinary about the boy, is his extra ordinariness. Zachary Briddling… is awfully middling.
Until he arrives in Grumptown, a land filled with the most annoyed and annoying population of people ever. Zachary listens to their grumping… and laughs. The locals challenge him to a Grumpoff and, with the help of his giant and hairy and tiny friends met along the way, he wins it all. Zachary Briddling discovers he is truly the King of the Grumps! Superbly excited with himself, Zachary rides home on his lion, throws his crown on the floor, and goes into his room… slamming the door as hard as he can!
He roars with the roar of a child who wishes to be at least a little bit amazing, at something.
Illustration credit: © Chloe Greaves (p.11, p.14)
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THE GRUMPIEST BOY IN THE WORLD
BIOGRAPHIES
CAMERON MENZIES Director
JOSEPH TWIST Composer
FINEGAN KRUCKEMEYER Librettist
Cameron Menzies has worked with Opera Australia, Victorian Opera, Malthouse Theatre, Sydney Theatre Company, ANAM, Oper Köln, Deutsche Oper, Berlin & DivaOpera UK. He is the recipient of the 2011 Berlin New Music Opera Award, 2008 Bayreuth Opera Award from Opera Foundation Australia/DAAD and The Besen Family Artist Program (Direction), Malthouse Theatre. Cameron currently has acclaimed productions of Lucia di Lammermoor and Le Nozze di Figaro touring Europe for DivaOpera UK, while 2014 saw his international debut directing Don Giovanni for the same company. In 2016, Cameron will direct Lucia di Lammermoor for Victorian Opera at Her Majesty’s Theatre.
Multi-award winning Australian composer Joe Twist is a versatile and eclectic musician. Based in the United States, Twist has received wide acclaim for his music for film and television, and his concert works are performed frequently by many professional ensembles around the world. Credits include original music, arrangements and orchestrations for The Wiggles and Melbourne Symphony Orchestra (The Wiggles Meet The Orchestra), New York Music Theatre Festival (Clinton: The Musical), the feature film Lily of the Feast starring Paul Sorvino (The Sopranos) and Twist's new album Dancing With Somebody featuring Acacia Quartet and Sally Whitwell.
Finegan has had 76 commissioned plays performed on five continents and translated into six languages. His work has been in over 70 international festivals, six US national tours, six UK national tours, at the Sydney Opera House (six works), New York’s New Victory Theater (three), Dublin’s Abbey Theatre and Shanghai’s Malan Flower Theatre. He has received at least one award each year for the past thirteen, including the inaugural Sidney Myer Fellowship, and has presented at conferences in nine countries, with essays published and plays studied at universities worldwide.
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Examples of his work can be seen at finegankruckemeyer.com
SIMON BRUCKARD Conductor
CHLOE GREAVES Set & Costume Designer
JOE MERCURIO Lighting Designer
Repetiteur and conductor Simon Bruckard is a Developing Artist with Victorian Opera, currently completing a Master of Music (Opera Performance) at the Melbourne Conservatorium of Music. Simon has worked as a coach and repetiteur for Victorian Opera for La traviata, Norma, Hansel and Gretel, The Flying Dutchman, Sweeney Todd and I Puritani. In 2015, Simon conducted the company’s regional tour of Remembrance in addition to The Grumpiest Boy in the World. Simon frequently performs as a collaborative pianist with singers and instrumentalists and is also a sought after French, German and Italian language coach.
Some of Chloe’s more recent costume designs include They Saw A Thylacine (Malthouse Theatre), The Waiting Room (MTC), Blak Cabaret (Sydney Festival/Malthouse Theatre), The Magic Pudding – the opera (Victorian Opera), On the Bodily Education (Fraught Outfit MTC Neon), Le Donna Curiose (The Juliard School, New York), Macbeth and A Midsummer Night’s Dream (Essential Theatre), and Pacific Overtures (Watch This Productions). Chloe also works in film and television, and has designed music videos for artists including Guy Sebastian, San Cisco and Alison Wonderland. Chloe received the 2014 independent theatre Green Room design award for her body of work, and has been nominated for four others previously.
Joseph Mercurio was born in Melbourne and raised in Fremantle, Western Australia before moving to Sydney in 1993, working in a wide range of styles in Australia and touring the world extensively. He has collaborated with some of Australia’s leading theatre makers, including Stephen Page, Angela Chaplin, Sue Healey, Juliàn Reta Fuentes, Phillip Adams, Natalie Weir, Roger Hodgman, Chrissie Parrot and Graeme Murphy. He was Lighting Coordinator at WAAPA for four years and is currently Coordinator of Performance Technology at the Victorian College of the Arts.
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VICTORIAN OPERA
NEW WORK In its 10 years of existence, Victorian Opera has commissioned and presented 13 new Australian works including The Grumpiest Boy in the World. New Works are our way of dreaming differently about opera. In 2016, Victorian Opera presents four new works: Banquet of Secrets
Laughter & Tears
A new musical about the joy of food and friendship written by Paul Grabowsky & Steve Vizard.
A collaboration with Circus Oz featuring 17-18th Century Italian music combined with the physical buffoonery of the Commedia Dell’arte.
The Pied Piper
Voyage to the Moon
A new fairy tale inspired opera written by Richard Mills to be created with Victorian communities.
A collaboration with Musica Viva and the Australian Research Council Centre of Excellence for the History of Emotions reimagining the beauty of the baroque.
Developing, workshopping and presenting new Australian work is critical to building a future for opera and musical theatre. The Victorian Opera New Work Syndicate helps preserve this exciting role and offers its members a unique insight into the creative process. To find out more about our New Work Syndicate contact Pooja Dutt, Individual Giving Manager, on (03) 9001 6408.
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VICTORIAN OPERA
PAT R O N S If you would like to get more involved in the work of Victorian Opera through our individual giving program please contact Pooja Dutt, Individual Giving Manager, on (03) 9001 6408 or poojad@victorianopera.com.au Founding Patrons The Late Dame Elisabeth Murdoch AC DBE Lady Potter AC
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VICTORIAN OPERA
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VICTORIAN OPERA
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Orchestra Victoria is a wholly owned subsidiary of The Australian Ballet. T: (03) 9694 3600 www.australianballet.com.au Management Artistic Director Nicolette Fraillon General Manager Julie Amos Operations Manager Amelia Davies Personnel Manager Tony Gilham Project Coordinator Margaret Lloyd Administration Assistant Elise Lerpiniere Operations Assistant Paul Shannan Orchestra Assistant Harriette Blanden Librarian Glynn Davies HR Advisor Ange Park Orchestra Accountant Chelsea Collins Philanthropy Manager James Worladge T: (03) 9669 2732 jamesw@australianballet.com.au Board Libby Christie Peter Hough Angela Kelly David McAllister
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Orchestra Victoria is supported by the Victorian Government through Creative Victoria.
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Australia Council for the Arts Creative Victoria The support received from the Australian Government through the Australian Council for Arts and from the Victorian Government through Creative Victoria provides the foundation from which we present all our partner opera and ballet companies. Further support from Local Governments assists our innovative Community & Education Programs.
Patrons David & Cindy Abbey Tom Bruce & Beth Brown Peter & Ivanka Canet Ms Jane Edmanson OAM Mr William J Forrest AM Henkell Family Fund Peter & Carmel Johnson Peter Kolliner OAM & Barbara Kolliner Maple-Brown Abbott H. E. McKenzie Prof David Penington Lady Potter AC Mr John Redman Ms Judith A Robinson Mrs Margaret S Ross AM Libby Smith H & EA Van Herk Victor & Karen Wayne Principal Regional Partner Bendigo Bank Bendigo Bank’s strong community and regional focus has great synergies with Orchestra Victoria’s work across Victoria.
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Orchestra Victoria is a wholly owned subsidiary of The Australian Ballet.
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