The Laurels is a short one-act opera which makes use of a thriller genre in order to explore a woman’s response to a harrowing crisis. Rather than dramatize the actual event, which would be difficult to create within a short space of time, the opera opens on the aftermath and illuminates manifestations of morality and how the past haunts us.

Laurel runs through a large city park at night, chased by a male Stranger. We are initially invited to see the Stranger as a dangerous stalker and to “read” the woman as a helpless victim. In the course of the story, however, clues are slipped which suggest that the victim is not so innocent. Through music, word, and action, the opera reveals that The Stranger is in fact part of Laurel’s psyche, and his pursuit of her is with a more complex purpose. When she stabs him and explains her motives, talking of “killing a man tonight,” we think she is referring to the Stranger we have just seen her stab. But when the stranger stirs, not killed, we realize that he is not the victim. He is haunting her, a voice she cannot escape which offers her the only way to properly silence him. The piece ends in this place of heightened dilemma.

The Laurels doesn’t announce itself as an interior psychological drama. Instead, it employs a contemporary retelling of the Daphne and Apollo myth in order to tell an exciting, surprising and moving story that works on many levels.

The Laurels is dedicated to Wayne Strongman and Claire Hopkinson of Tapestry New Opera Works.