OVERVIEW
| Role | Voice Type | Range ? | Character Description |
|---|---|---|---|
| Martha | middle-high | A#3-F#-5 | A wife |
| George | middle-low | G2-G4 | Her husband |
SYNOPSIS
George and Martha have three very different versions of a difficult conversation over breakfast. The first two represent what happens in George’s mind when his wife insults him over breakfast. One is violent and reactionary, with George screaming and verbally abusing Martha. The other is more considered, as George firmly but politely asks Martha to not ruin a nice breakfast with talk like that, leading to protestations of love from both. The final scene is what happens in reality, with George meekly, timidly asking Martha not to insult him. Dark, probing, and starkly hilarious.
MUSIC DESCRIPTION
SCORES FOR PURCHASE
PREMIERE PRODUCTION INFORMATION
| Role | Name |
|---|---|
| Martha | Andrea Ludwig |
| George | Geoffrey Sirett |
| Role | Name |
|---|---|
| Director | Michael Hidetoshi Mori |
| Music Director | Dr. Christopher Foley |
| Music Director | Jennifer Tung |
| Lighting Designer | Davida Tkach |
| Stage Manager | Lesley Abarquez Bradley |
| Artistic Director | Wayne Strongman |
| LIBLAB Dramaturg | Michael Patrick Albano |
CREATION
QUOTATIONS FROM CREATIVE TEAM
"In This World, George Is Heartbroken is a 6-minute ‘micro-opera’ comprising three scenes, each a different version of an interaction between a married couple, George and Martha. Librettist Hannah Moscovitch and I intended that the first two scenes represent George’s interior reactions to Martha’s insult, the first being his initial reaction of anger, expressing perhaps the way he wishes he could stand up for himself. His second reaction represents a different sort of wish, perhaps deeper and more considered, about the nature of his relationship with his wife. The third scene represents what ‘really happens,' at least what an outside observer would see. (George’s mind may not accept this version as the one that ‘really happens.’) At least this was our initial intent in writing the piece, though there may well be other ways to interpret the scenes."
- Lembit Beecher (from LembitBeecher.com)
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