Third Eye Theatre Ensemble presents the Midwest Premiere
Han Lash BEOWULF
A chamber opera in two acts
Libretto by Han Lash
September 2nd-September 11th 2022
The Edge Off Broadway, 1133 W. Catalpa, Chicago
This project is partially supported by grants from the Donnelley Foundation and the The MacArthur Funds for Arts and Culture at The Richard H. Driehaus Foundation.
This piece will be performed without intermission and runs approximately 60 minutes.
This production uses water based haze, sudden flashing lights & loud sounds, and references themes of war trauma, medical trauma, death, dying and mental health.
This piece will be performed without intermission and runs approximately 60 minutes.
This production uses water based haze, sudden flashing lights & loud sounds, and references themes of war trauma, medical trauma, death, dying and mental health.
SYNOPSIS
Act I: The opera opens in a thunderstorm with Beowulf at home readying himself for bed. He looks in the mirror, reassuring himself that he is no longer at war—that part of his life is over. However, a clap of thunder triggers a flashback: a mortar explosion, an injured child, and his attempts to help her.
In a nursing home, Beowulf’s mother is receiving hospice care and struggling with dementia. She is confused and scared, convinced that one of the nurses is trying to kill her. When she becomes increasingly agitated and distressed, Beowulf decides to take her into his own home.
Act II: Beowulf grapples with the physical logistics and emotional burden of caring for his mother, while also coping with his own distorted sense of reality. The role of child and caregiver is reversed, and Beowulf’s mother continues to decline at an alarming rate, to both her and Beowulf’s dismay. In a moment of lucidity, she asks Beowulf to help her pass peacefully so that she can leave her life with dignity, on her own terms.
As another thunderstorm is brewing, the nurse arrives at the house to return a sweater that Beowulf’s mother left behind. The nurse is frustrated and wants an apology. The nurse is no longer trusted at work after the mother’s accusations and Beowulf’s subsequent removal of her from the home. Concerned about the impending storm, Beowulf asks the nurse to leave. Later, his mother struggles to breathe and he administers a small dose of morphine to help her sleep.
The rain intensifies, and with a clap of thunder Beowulf flashes back to the mortar explosion. The child has no hope to survive. Grief stricken, he is convinced that the only ethical way to care for her is to help her pass. In the midst of his flashback, his mother reaches out, pulling him out of his wartime reality. She asks him again to help her pass, and after hesitating, he agrees. He cradles his mother, administers the required dose of morphine, and sings her to sleep with a lullaby she sang to him when he was a child.
In a nursing home, Beowulf’s mother is receiving hospice care and struggling with dementia. She is confused and scared, convinced that one of the nurses is trying to kill her. When she becomes increasingly agitated and distressed, Beowulf decides to take her into his own home.
Act II: Beowulf grapples with the physical logistics and emotional burden of caring for his mother, while also coping with his own distorted sense of reality. The role of child and caregiver is reversed, and Beowulf’s mother continues to decline at an alarming rate, to both her and Beowulf’s dismay. In a moment of lucidity, she asks Beowulf to help her pass peacefully so that she can leave her life with dignity, on her own terms.
As another thunderstorm is brewing, the nurse arrives at the house to return a sweater that Beowulf’s mother left behind. The nurse is frustrated and wants an apology. The nurse is no longer trusted at work after the mother’s accusations and Beowulf’s subsequent removal of her from the home. Concerned about the impending storm, Beowulf asks the nurse to leave. Later, his mother struggles to breathe and he administers a small dose of morphine to help her sleep.
The rain intensifies, and with a clap of thunder Beowulf flashes back to the mortar explosion. The child has no hope to survive. Grief stricken, he is convinced that the only ethical way to care for her is to help her pass. In the midst of his flashback, his mother reaches out, pulling him out of his wartime reality. She asks him again to help her pass, and after hesitating, he agrees. He cradles his mother, administers the required dose of morphine, and sings her to sleep with a lullaby she sang to him when he was a child.
ABOUT THE CAST
Noah Gartner BEOWULF Lyric baritone Noah Gartner has been performing on stage throughout the Chicago area for a number of years; notably with Third Eye Theatre Ensemble (with which he is a company member), Transgressive Theatre-Opera, Main Street Opera, Petite Opera, and da Corneto Opera. He has also become a mainstay of Handel Week Festival in Oak Park. Collaborating with Third Eye Theatre Ensemble has become an artistic highlight for Noah. This will be his fifth production, having sung Charles Babbage (The Infinite Energy of Ada Lovelace), Parson Peel (Patience and Sarah), Archbishop Seijas (With Blood With Ink), and Alwan (Sumeida’s Song) in previous seasons. Some additional performances of note include Figaro (Barber of Seville), Count Almaviva (Marriage of Figaro), Valentin (Faust), Cesare (Giulio Cesare in Egitto), Ford (Falstaff) |
Andrew Sprague beowulf cover Andrew is thrilled to make his Third Eye Theatre Ensemble debut in Beowulf. Andrew is a second year master’s student at Northwestern University. A graduate of Ithaca College, Andrew completed a Bachelor of Music in vocal performance with a minor in business administration in 2020. During his undergraduate career at Ithaca, Andrew was seen as Aeneas (Dido and Aeneas), Bob (The Old Maid and the Thief) as well as in Mozart’s La clemenza di Tito and Massenet’s Cendrillon. Andrew made his Northwestern Opera Theatre debut last fall in Menotti’s The Medium (Mr. Gobineau) and was also seen in the Midwest premiere of Jake Heggie’s If I Were You (Putnam) and La Bohème (Benoît and Alcindoro). Andrew has also performed with Opera Ithaca & Cayuga Chamber Orchestra in their co-production of La Bohème as the Sergeant, as well as sung the role of The Servant in Rubenstein’s The Demon (Демон) with the Russian Opera Workshop. This summer, Andrew performed in the chorus of Opera Festival Chicago’s 2022 summer season. Andrew is a student of W. Stephen Smith. |
Angela Born mother Commended for her “fire and conviction,” Angela Born is an opera theatre artist committed to artistic integrity and authenticity. As a staunch advocate for new music who has been praised for her “impeccable musicianship” (Chicago Classical Review), Ms. Born is frequently sought as an interpreter of new works. Favorite roles include Patience in Paula Kimper’s Patience and Sarah, Lucinda in Nico Muhly’s Dark Sisters, and Meg Murry in Libby Larsen’s workshopped production of A Wrinkle in Time. Recently, Angela received critical acclaim for her “engaging stage presence and expressive lyric voice” in her performance of Elizabeth Rudolph’s premiere of Petticoats and Sliderules. Equally comfortable in traditional classical repertoire, some of Angela’s favorite roles include Musetta in La Bohème, Ännchen in Der Freischütz, and Despina in Così fan tutte. Upcoming engagements include premiering a new DCASE-supported song cycle by Michelle Isaac with poetry by suffragist Alice Duer Miller. www.angelaborn.com |
Mary Lutz Govertsen MOTHER Mary Lutz-Govertsen is an active soprano in the Chicago opera scene. She's sung a lot of stuff with a lot of companies, but her favorite roles in Chicago have been Lucia/Lucia di Lammermoor (Main Street Opera), Soldier/The Falling and the Rising (Petite Opera), Almera/Dark Sisters (Third Eye Theatre Ensemble), and Fiordiligi/Cosi fan tutte (Transgressive Theater-Opera). When she's not singing, Mary teaches public school music, does aerial circus, and spends time with her husband, 7-year-old son, and two bad kitties. www.marylutzgovertsen.com |
Rena Ahmed NURSE Rena Ahmed, contralto, is a versatile performer who has been featured in numerous productions of opera, operetta, musical theater, theater, cabaret and concert works throughout the Chicago area. She has an affinity for new works, and has been featured in three original works and four regional premieres. Heralded as a “strong, edgy mezzo,” and praised for her "open and welcoming presence," she was last seen with Third Eye as Ada Lovelace in The Infinite Energy of Ada Lovelace. Favorite roles include Baba in The Medium, Ruth in Dark Sisters, The Principessa in Suor Angelica, The Baker’s Wife in Into the Woods, and Agnes Gooch in Mame. She has also been featured on Jake Burns’s recording of Irish folk rock, "Drinkin’ Again", on the EMI UK label. |
Vincent McPherson nurse Vincent McPherson is elated to be working with Third Eye Theatre Ensemble again after having played the role of William King-Noel in Third Eye’s production of ‘The Infinite Energy of Ada Lovelace’ last season. A tenor born and raised in the Chicagoland area; He has been singing all over the country in both Operatic and Musical Theatre styles. Freshly off of singing the role of Frank LaTalle in Mesopotamian Opera Company’s production of ‘The Tree’ in Los Angeles, he’s happy to be back in his hometown performing with one of his favorite companies. Other recent credits include Don Ottavio in Don Giovanni (Mission Opera) Alfredo in La Traviata (Landmark Opera) and Ferrando Cosi Fan Tutte (Mission Opera). A special thank you to the family for all of their love and support over the years. I hope you enjoy this really talented ensemble as much as I do. |
ABOUT THE ORCHESTRA
Richard Brasseale Saxophone Richard Brasseale is a freelance saxophonist in the Chicago area. He has played with numerous ensembles, including the Milwaukee Symphony, Madison Symphony, Folks Operetta, Fulcrum Point New Music Ensemble, Camerata Chicago, Civic Orchestra of Chicago, and others. He is currently the Classical Saxophone Instructor at North Park University, an Advisor at the Vandoren Chicago Studio, and is Production Manager of Twickenham Fest in his hometown of Huntsville, Alabama. He recently won the 2021 People's Choice Award for the National Saxophone Museum's Creative Saxophone Expression Prize. He received his masters and bachelors degrees in Saxophone Performance from DePaul University, where he won the Symphony Orchestra Concerto Competition. He has also been to Brevard Music Festival, where he was a fellow of the ITCH New Music Ensemble and performed with the symphonies there. |
Ash Fitzwater Violin Ash Fitzwater, violinist, is an active substitute with the Peoria Symphony Orchestra, the Rockford Symphony, and performs regularly in the Chicago area. Ash served as concertmaster for the Illinois Valley Symphony from 2011-2017. Before moving to Illinois in 2009, they were a member of the Wichita Symphony Orchestra for 2 years and performed with the Wichita Grand Opera. Ash maintains a private teaching studio of violin, viola, and piano. They were also a center director and teacher for their Music Together® center, in Aurora and Sycamore, Mighty Acorn Music Makers, for eight years, ending in 2020. Ash taught at Viva Performing Arts in Dixon, in various capacies, 2014-2020. At Viva, they taught a 3-year in-school group violin program, as well as lessons, and Music Together. Ash taught for an El Sistema program, in Aurora from 2014-2015. They hold a Master’s Degree in Violin Performance from Northern Illinois University, where they studied with Mathias Tacke, and a Bachelor’s Degree in Violin Performance from Wichita State University, where they studied with Richard Young, John Harrison, and Nancy Luttrell. |
Cally Laughlin clarinet Cally Laughlin is a Chicago area clarinetist, principal clarinet of the Racine Symphony Orchestra, member of Lake Effect Clarinet Quartet (LECQ), and creator of Cally's Clarinet Channel (YouTube). Before her appointment with Racine Symphony in 2021, Cally completed a 2-year membership (2016-2018) with the Civic Orchestra of Chicago. While in Civic, she worked with CSO Assistant Principal and E-flat Clarinetist John Bruce Yeh and various conductors including Christoph Eschenbach, Ken-David Masur, Marin Alsop, and Teddy Abrams. With LECQ, Cally performs around Chicago and tours the United States. In the fall of 2020, LECQ performed live on WFMT in the Dame Myra Hess concert series. Additionally, LECQ recently released their first album, featuring works by Carl Nielsen, Percy Grainger, and Johann Strauss. Cally earned her Master's degree and Bachelor's degrees in Clarinet Performance (2009 & 2011) from DePaul University, where she studied clarinet with Larry Combs and Julie DeRoche. |
James Yakas percussion James Yakas is currently the Director of Percussion Studies at VanderCook College of Music in Chicago, IL. He holds a B.M. in Music Education from the University of North Texas, a M.M. in Percussion Performance and Pedagogy from Northern Illinois University as well as a Doctoral of Musical Arts in Percussion Performance degree from the University of North Texas. Dr. Yakas’ diversity in percussion education and performance has led him to many unique opportunities. He spent a total of twelve summers in the drum corps activity spanning from performing as a snare drummer with the Madison Scouts Drum and Bugle Corps to eventually becoming their Percussion Coordinator and Arranger in 2003. Dr. Yakas has also studied and performed the music of many world cultures including performances with Northern Illinois University’s Steel Band at the World Steelband Festival in Trinidad/Tobago and the Seoul Drum Festival in Seoul, South Korea; Studying Afro-Cuban Drumming with Orlando Cotto and Studying abroad in Ghana with Ethnomusicologist Dr. Steven Friedson, specifically the Ewe Culture of the Volta region. Dr. Yakas is an endorser of Yamaha Percussion, Vic Firth Sticks and Mallets, Remo Drumheads and World Percussion Instruments and Sabian Cymbals. |
ABOUT THE CREATIVE TEAM
Rose Freeman stage director Rose Freeman teaches, stage directs, and produces theatrical performances in multiple performance mediums including (but not limited to) musicals, opera, burlesque, space informed work, zoom theatre, plays, and monster truck rallies. Freeman directed Third Eye Productions include The Medium, Sumeida’s Song, Dark Sisters, With Blood With Ink, Stitch, Stitch/Witness. Zie is a Founding Ensemble Member of Third Eye Theatre Ensemble, Nothing Without a Company, and Member Emeritus for the DirectorsLabChicago Steering Committee. Freeman has spoken on the panels for the 2020 National Opera Association and the 2011 Chicago Theatre Symposium, participated in the 2012 DirectorsLabChicago, and 2017 La MaMa Umbria Intl. Symposium for Directors. Freeman is a recipient of the National Opera Association's 2020 JoElyn Wakefield-Wright Stage Director Fellowship. Rose Freeman is a Directing Fellow for Wolf Trap Opera's 2020, 2021, and 2022 season. Visit www.Rosefreeman.org - it will tell you about all the other fun things zir is up to. |
Alexandra Enyart conductor & Co-music director Alexandra Enyart has been called “one of Chicago’s greatest operatic gifts” (Chicago Theatre Review) and “a podium talent to watch”(Chicago Classical Review). She’s performed with Opera Columbus, Australian Contemporary Opera Company, Opera Orlando, and many others around the country and globe. She has served as a Chicago Sinfonietta Fellow and as a “Turn the Spotlight” fellow with Chicago Opera Theatre music director, Lidiya Yankovskaya. In 2017 Alexandra won the CODA conducting competition and in 2018 she won CCM’s Mozart Overture Conducting Competition. Alexandra served as a panelist at the Opera America conference in 2021 and serves currently on the Artistic Advisory Council for American Opera Projects. Alexandra is as comfortable on the podium as she is in the opera pit having made her international debut in Tomsk Russia with the Tomsk Philharmonic Orchestra in 2016 while finishing her Master’s in Orchestral Conducting from the University of Louisville. At the same time she also worked as the apprentice conductor with the Louisville Orchestra and Kentucky Opera as well as the Assistant Conductor for the Louisville Youth Orchestra. Alexandra works as a champion of new music and helped to bring As One, When Adonis Calls, Patience and Sarah to the stage, among many others. She also champions young singers and advocates for every voice in her work with Chicago Vocal Arts Consortium which includes productions of La finta giardiniera, Die Entführung aus dem Serail, and L’elisir d’amore with many more to come! As a transgender conductor Alexandra strives to create a more equitable and diverse musical world. As such she has successfully chartered “Faulty Systems”, an annual program in which activists and artists come together to share stories of underrepresented communities or ideas through music, speech, poetry, dance and other mediums. Alexandra also helped to launch the Chicago Vocal Arts Consortium’s sing–thru program, which functions to create an accessible space for young artists to experiment with musical styles and traditions following their education. Alexandra believes that to conduct is an honor and privilege, and continues to work to support and strengthen the musical community of which she is privileged to be a part. |
Jason Carlson music director Jason Carlson is a collaborative pianist and vocal coach. He is a frequent recitalist and performer, including recent appearances with New York Philharmonic trombonist Joseph Alessi, legendary flautist Sir James Galway, and a lecture recital on law and opera with Supreme Court Justice Ruth Bader Ginsburg. As a répétiteur, Jason has worked with renowed singers such as Neil Shicoff and Elizabeth Futral, and also served as principal accompanist and auxiliary conductor for performances of Madama Butterfly, La fanciulla del west, and Otello with the late Maestro Lorin Maazel. Jason is currently on faculty in the opera department at his alma mater, Northwestern University. He is also the founding music director for Third Eye Theatre Ensemble and Main Street Opera in Chicago. |
Shelby Krarup production stage manager Shelby Krarup has a dual focus degree in voice and violin performance, and a minor in theatre. She has worked extensively as a stage manager for everything from corporate events to regional opera, and music festivals. She splits her time managing costuming, hair, and special effects make-up endeavors, both for theatre and personal enjoyment. Away from the theatre, her time is spent crafting, being a nerd, and kitten wrangling. 
Delena Bradley costume design Delena is a costume and scenic designer currently based out of Chicago, IL. Recent credits include: costume design for The National High School Institute Theatre Arts Program 2022, associate costume designer for Fences with American Blues Theater (Chicago), costume design for Much Ado About Nothing at Asolo Repertory Theatre/FSU (Sarasota), costume and scenic design for The Infinite Energy of Ada Lovelace with Third Eye Theatre Ensemble (Chicago), costume design for; Alcina, Lucio Silla, and Albert Herring at Chicago Summer Opera, and production and costume design for Addict Named Hal a feature film by Lane Stanley (Austin, TX). Delena received her M.F.A. from The University of Texas at Austin in 2020, and bachelor’s degree in theatre technology and design from Ball State University. |
David Goodman-Edberg Lighting design David Goodman-Edberg (he/him) (Lighting Designer) is delighted to be working with Third Eye Ensemble again after lighting The Infinite Energy of Ada Lovelace. Mostly working in the worlds of dance, theatrical, and architectural lighting design, some recent designs include Lights on Broadway (Grant Park Music Festival); Home (Fleetwood-Jourdain Theatre); Two Remain (Chicago Fringe Opera); Gift:ED, Legacy Island, and Hyper (Eisenhower Dance Detroit); My Name is Inanna (Red Tape Theater); Imagery Portrayed (Water Street Dance Milwaukee); Legacy: Phoenix^5 (Joel Hall Dancers); The Pillowman (The Gift Theater); The Silence in Harrow House (Rough House); American Catracho (Cerqua Rivera Dance Theater); and TAKE (Visceral Dance). dglxdesign.com. | Black lives matter. | Freedom for all colonized lands from Hawai’i to Palestine. 
Toni Machi movement & intimacy director Toni is over the moon to be back in Chicago and a part of this production. Previously, she could be found as a burlesque performer in the New York nightlife, collaborating with City Lyric Opera, The Chain Theater NYC, working for reproductive justice, or teaching flying trapeze. All the love to SVH, Rosie and Benny. |
Sam Stephen set design Sam Stephen is the scenic designer for Beowulf. They have a B.A. degree in Live Entertainment Design and Technology from North Central College. They have recently designed lighting for Dracula at Glass Apple Theater, Matilda at Des Moines Playhouse, the 2021-2022 season at Citadel Theatre, Living Newspaper Festival at Jackalope Theater, and Footloose with Bravo Performing Arts. They look forward to another incredible year of designing for live entertainment around Chicago and many more places. More about them can be found at www.DesignsBySamuelStephen.com 
Tracey Furling Assistant director Tracey Furling is a local music industry professional and has been Third Eye’s Director of Marketing since 2020. She helped the company explore a new virtual arena and has grown the company’s social media presence immensely. Tracey is passionate about opera outreach and presenting socially relevant opera. This is her first production as an Assistant Director and she couldn’t be more honored to work with a team of such incredible artists. In addition to talents in marketing, project management, and live concert production, Tracey is an emerging professional opera singer. She studied performance in many forms: voice, theater, public speaking, piano, and dance. Tracey received two undergraduate degrees from Bradley University in Music Business and Vocal Performance. She thrived under the direction of Dr. Kerry Walters, sang with Bradley Opera Youth Outreach, was president of her Sigma Alpha Iota chapter, presented two solo recitals, and sang with the Bradley Symphony Orchestra as a winner of the 2015 Concerto/Aria Competition. Tracey also studied privately with Allison Meuth and Dr. Annie Picard. She currently performs with Third Eye Theatre Ensemble and Chicago Choral Artists. |
ABOUT THE COMPOSER AND LIBRETTIST
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Han Lash’s music has been performed at Carnegie Hall, Los Angeles Walt Disney Concert Hall, Lincoln Center, the Times Center in Manhattan, the Chicago Art Institute, Tanglewood Music Center, The Aspen Music Festival & School, among others. In 2016, Lash was honored with a Composer Portrait Concert at Columbia University’s Miller Theatre, which included commissioned works for pianist Lisa Moore and loadbang. In the 2017-2018 season, Lash's Piano Concerto No. 1 “In Pursuit of Flying” was premiered by Jeremy Denk and the Saint Paul Chamber Orchestra; the Atlantic Classical Orchestra debuted Facets of Motion for orchestra, and Music for Nine, Ringing was performed at the Music Academy of the West School and Festival. Paul Appleby and Natalia Katyukova premiered Songs of Imagined Love, a song cycle commissioned by Carnegie Hall, in 2018, and in 2019, Lash's chamber opera, Desire, premiered at Miller Theatre to great acclaim. Lash's Double Concerto for piano and harp was premiered by the Naples Philharmonic, and Forestallings, a musical response to Beethoven’s Symphony No. 2 in D Major, was premiered by the Indianapolis Symphony Orchestra. Lash’s double harp concerto, The Peril of Dreams was premiered by the Seattle Symphony in November 2021, with the composer as one of the featured soloists. Han Lash's music is published exclusively by Schott Music Corporation (New York).
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DIRECTOR'S NOTES
At Third Eye, we aspire to produce new or seldom performed works. Often a Third Eye show sports "Chicago premiere" in its promotional materials and Beowulf is no different. Since this opera's inception, I've been hoping for it to fit in our season and this year, our hero was able to emerge. After repeated global crises and witnessing so many acts of cowardice and heroism, we are sitting in a moment of settling debris and asking what it means to be a hero. In the epic poem, Beowulf travels to defeat a monster, ripping off Grendel's arm while "all sleep but one." Grendel's mother rightfully wishes to avenge her son's death, challenging Beowulf to yet another battle. The poem turns reflective towards its end with now King Beowulf dying at the claws of a dragon and wondering what will happen to his kingdom because he chose to slay this final monster. Here we have a doctor battling his inner and outer monsters, grappling with his acts of heroism of the past and current calls to duty. We have a nurse doing their heroic best among insurmountable challenges. We have a mother doing her best to protect her son even as she battles her own monsters. Finally, we have the realities of heroism, which often involve looking back at what had to be done with the heartbreak of what called us to step up in the first place.
LIBRETTO
Prelude
BEOWULF:
(Alone, in his room, readying himself for bed)
I am here at home. I am here at home. I am not at the base. That’s over.
(Pause for a few minutes in silence before the music begins)
(It is night. As the instrumental overture plays, we watch Beowulf ready himself for bed. He brushes his teeth, combs his hair, buttons his pajamas. He is neat, clean, organized. His bed is immaculately made, no wrinkles, white sheets. He goes to his medicine cabinet, takes a few tablets. He looks at himself for a few minutes in the mirror. Finally he climbs into bed.)
I am here at home. I am here at home. I am not at the base. That’s over.
Act I Scene 1
(A loud crash of thunder outside his window triggers a flashback to the war and to a traumatic experience he had as an army doctor. He gets up, reliving the experience.)
Mortar explosion…Hello! Who’s there? Who’s there? Anybody? Oh my god…Blood everywhere. Hold on. Stay with me. I’m a doctor—I can make you better. What is your name? Eve? Let me look at you. (Pauses) We’ll find your mommy. Just don’t sleep, Eve. Stay with me. Hold still. Let me look. What songs do you know? Let’s sing together.
All around the cobbler’s bench, the monkey chased the weasel; the monkey thought ‘twas all in sport, POP! goes the weasel!
Hold still—I’m just going to wrap your head here. See this gauze? Isn’t it nice—like a spider web: so soft and strong and fine.
All around the cobbler’s bench the monkey chased the weasel, the monkey thought ‘twas all in sport, pop! goes the weasel!
Sing, Eve, sing with me. Your voice is so lovely and that song is such fun! Shh, shh, don’t cry. Not yet. Not yet. There will be plenty time for that after you heal. Shh. We’ll find your mommy. I will make sure you are safe.
(He cradles his blankets. Another crash of thunder. He comes out of the flashback, letting his blankets go.)
I am here at home. I am here at home. I am not at the base. That’s over.
(Lights out)
Scene II
BEOWULF:
(At a nursing home. Beowulf enters his mother’s room. She is sitting in a chair. There is a bed right next to the chair.)
Mother, how are you feeling? Have you walked around? Did a nurse walk with you around the halls?
MOTHER:
You are here finally! I’ve missed you. How long has it been since you were here?
BEOWULF:
Yesterday evening, Mother.
MOTHER:
Oh that’s right. How are you? There was thunder and lightening all night here. Did you sleep last night?
BEOWULF:
Tell me how you are feeling today, Mother.
MOTHER:
It feels as though I’ve been here for days and days. When can I go home again? I won’t be here for long. This isn’t it, is it, Beowulf?
BEOWULF:
Has a nurse been by in the last hour? Let me look at you. What’s this bruising on your arm? Did you fall? Bump yourself?
MOTHER:
The nurse hasn’t been here for a long time, I think…but what does an hour feel like here? It feels like a week. It feels as though I’ve been here for weeks and weeks. I don’t know when the last time was a nurse was here. That nurse—the man—he’s trying to kill me… he gives me the wrong pills. I’ve been feeling worse since he’s been giving me the pills.
BEOWULF:
Can you stand? I think you should walk around a little. Here, take my hand.
(Gives her his hand and helps her to her feet. She stands for a moment, loses her balance and sits down again abruptly and awkwardly.)
MOTHER:
When can I go home? I miss my own bed, and my pillow. These pillows are so small and hard. I miss filling the birdfeeder and watching the finches flock outside my window. I miss the soup I make on Sundays. I miss my kitchen clock. I miss my bookshelves with rows of dusty spines. I miss opening my curtains in the morning and walking with my bare feet on my own clean floors.
BEOWULF:
You’re dehydrated, Mother.
(He pushes the call button on the side of her hospital bed. A nurse enters.)
NURSE:
Here you are, sweetheart; let’s take your blood pressure. Oh hello, Doctor. And time for your meds.
(He approaches Mother with a blood pressure cuff and several bottles of pills.)
MOTHER:
I’m not going to take those pills. They’re not the right ones. Ever since you’ve been giving me those pills I’ve felt worse.
NURSE:
Come on, sweetheart. You’ve got to take your meds.
BEOWULF:
Has she fallen? She has bruising on her arm that is new since yesterday. It’s not normal for her to bruise like that.
NURSE:
No falls. (To Mother) Here, sweetheart. Here’s the pills.
MOTHER:
No! No! You’re trying to kill me! I know these are not the right pills—these are not the ones my son prescribed… you’re trying to kill me!
(She refuses to take the pills)
BEOWULF:
She’s dehydrated. Let’s get her on an IV drip right away.
NURSE:
Yes, Doctor.
(Exits)
BEOWULF:
Mother, what’s going on?
MOTHER:
He’s rough with me all the time when you’re not here. He’s a bad man, Beowulf. He likes to inflict pain on me. I know he’s trying to kill me. There are people like that. Just let me get back to my own home. I’ll be fine if I can just go home.
BEOWULF:
You know you aren’t well enough to live alone. (Beowulf’s pager goes off.) I’ll be right back.
(Exit Beowulf. Nurse enters with an IV; seems to be making several unsuccessful attempts to the needle in. Mother struggles, but the IV goes in. Nurse pats her hand and exits. After a couple of minutes, Beowulf enters; goes back to Mother’s bed. She is moaning, tugging at the IV.)
What happened here? Missed the vein? Bruising, more and more bruising…
(He removes the IV—angrily pushes the call button for the Nurse, who reenters quickly.)
BEOWULF:
You Missed the vein.
NURSE:
Doctor, I’m terribly sorry. It looked all right when I did it.
BEOWULF:
You have to stay and be sure. She is having trouble with bruising; when that is the case, you have to be careful.
NURSE:
I’m sorry doctor.
MOTHER:
He’s trying to kill me! Just get me home. I need to get out of here now! Please get me out of here now!
(Lights fade as Beowulf assists his mother out of the room, gathering up her sweater and helping her put on her shoes. The exit, leaving the nurse behind.)
Act II Scene I
BEOWULF:
(Sitting on a chair by his Mother’s bed. They are at his home.)
I’ll take care of you. You’ll be fine here.
MOTHER:
That’s what I used to promise you when you were a child. I kept you safe, Beowulf. I promised you would be safe.
BEOWULF:
Now it is my turn to keep you safe.
MOTHER:
Wash your hands, Beowulf—I used to tell you. Always wash your hands so that you don’t get sick. You could get sick—you could die, so wash your hands. And at night as soon as it got dark, I would draw the blinds and bolt the door. Your windows were never open at night—children are kidnapped at night because no one hears the man sneaking in the open window. Carried off, lost, missing… close your windows, Beowulf; I will lock them and pull your curtains tight together. Nothing will harm you. And I would sing you to sleep:
MOTHER AND BEOWULF:
Good night, my star,
so bright you are
twinkling in the west.
The moon will rise
and soon your eyes
will close and you will rest.
Good night, good night,
Good night my dearest love.
Good night, my star
So bright you are
sparkling high above.
(Lights out. Brief musical interlude.)
Scene II
(Beowulf is at the hospital. He is performing a surgery on a small child. Two assistants— perhaps played by instrumentalists who are not playing during the scene—hand Beowulf instruments as he performs the surgery.)
BEOWULF:
Give me that gauze. We need a little more around her head, here. I’ll watch her for a few minutes. Go make sure a bed is ready for her in recovery. Let her mother know she’ll be all right.
(Assistant gives Beowulf gauze, then leaves the room. Beowulf wraps the gauze around the child’s head. He is back in the mortar explosion at war taking care of the little girl Eve.)
See this gauze? Isn’t it nice—like a spider web: soft and strong and fine. You’ll get better, Eve, you’ll be well again soon. (Pause) We’ll find your mommy. She’ll be here soon. There, there. Don’t cry, don’t cry.
(He strokes the child’s face, saying “shh, shh” softly. Lights fade.)
Scene III
(Beowulf comes through the door frame; he is returning home from the hospital. His mother is not on the couch. She is huddled on the floor.)
BEOWULF:
Mother? Are you all right?
MOTHER:
Beowulf, I think there’s someone at the house… there are strange noises outside the living room window—there’s someone looking in the window. Beowulf, there’s someone going to break in the house. And the rain has started again. I hear thunder in the distance too.
BEOWULF:
There’s no one outside, Mother. It’s just the rain you hear.
MOTHER:
Someone has been watching me through the windows; I can’t reach the blinds to close them. It’s that nurse, Beowulf. He wants to kill me. He knows where I am and he wants to come here and kill me.
BEOWULF:
Come, Mother; let’s get you back in your chair. I will close the blinds, but there is no one looking in the windows. You are safe.
(He helps her sit down, and goes to the edge of the stage to close the blinds.)
MOTHER:
Are the windows locked? You opened one earlier today because I said I couldn’t breathe. I couldn’t see if you locked it before you left. I’m too weak to move the latch myself.
BEOWULF:
No one is outside. All the windows are locked. The blinds are drawn. You are safe.
MOTHER:
Just make sure. I know he was here. He was outside these windows, I could see his face looking in.
(Beowulf goes to the door frame. He looks out, then returns to his mother.)
No one is out there. There is no need to be frightened. I’m here now.
MOTHER:
I’m tired, Beowulf. Help me get to the couch. I just want to sleep a little.
(He helps her lie down on the couch and covers her with a light blanket.)
Beowulf, this is no way to live. I know... I know I won’t be going back home again. Unless just to say goodbye, if you take me there—go through my things, pick up a few more clothes.
Beowulf, this is no way to say goodbye... I don’t want to go to sleep angry or scared. Let’s drive someplace on the next sunny day. Just a day trip, just the afternoon. I want to
see the ocean one last time. And give me something so I won’t feel it—just drifting to where I can stay. Then drive me home, carry me to my bed and hold my hand. I’ll be drifting—the gentlest of sailing, I’ll cross the river with a smile, gratefully, gratefully...
BEOWULF:
Mother, you are not thinking straight...
(He turns has face away from her so she won’t see his tears. He sits on the edge of the couch holding her hand until she falls asleep.
After a few minutes, there is a knock at the door. Beowulf answers it. It is the nurse from the nursing home. He is carrying a watch.)
NURSE:
Your mother left this at the home. I thought I might as well bring it by.
BEOWULF:
Thank you. You’d better get back to your car. We’re having another thunderstorm.
NURSE:
Is that all you have to say?
BEOWULF:
What do you want me to say? What else should I have to say?
NURSE:
People at the home don’t trust me anymore. She told other residents I was rough with her —those rumors spread like wildfire after you took her away.
BEOWULF:
I’m sorry…but what can I do? My mother was unhappy. She’s confused, dying. I wanted her to be with me. Now please, my mother is sleeping. Please be on your way.
(He withdraws from the door frame. The nurse pauses for a moment, watching him, then turns and exits.)
MOTHER:
(Roused a little from her sleep—partially sitting up)
Was someone here just now? Is everything all right? Who was that?
BEOWULF:
It was nothing, Mother. Can you drink a little ginger ale?
MOTHER:
I just want some Tylenol. I’m tired. This room is getting smaller, Beowulf. It wasn’t so small when I got here. Can’t you move something out to make it less crowded? Just take that table away…put it in the hall. If I get up in the night I’m going to bump into that table. You’re going to have a fire in here it’s so crowded. Make sure you turn out the light so that if I bump that table in the night there won’t be a fire when the light falls onto the floor. I need to sleep. I sleep so much. I didn’t used to sleep so much.
BEOWULF:
Lie down, you’re dizzy. I’ll get you ready for bed.
(Return of some musical material from the overture as Beowulf readies his mother for bed. He helps her brush her teeth. He slips on and buttons her pajamas, and hands her a mirror so that she can look at herself while he combs her hair. She looks at herself)
MOTHER:
I am here with my son. I am here with my son. I am not in my own house. It’s over.
(Beowulf hands her some pills and a glass of water. She takes them, and then he eases her back down on the couch and covers her. Then he gives her a little vial.)
What is this, Beowulf?
BEOWULF:
It is a small dose of morphine to help you sleep.
(She drinks it and hands him the vial. He kisses her forehead, watches her as she falls asleep. He sits on the edge of the bed, holding her hand.)
You used to sing to me to sleep when I was little. I loved your voice.
(He watches her, not moving. We hear the rain and storm outside. Then there is a loud crash of thunder outside—he flashes back again.)
No, no, Eve. You’re going to getting better. No, don’t—don’t! Oh my god… she won’t last—she’s in such pain…Eve, no—oh god, stay still! Quick, let me give you this…it will make the pain fade. Shh, shh…
(He kneels next to the couch, touches his mother’s head. Another loud clap of thunder.)
MOTHER:
Who’s there? What happens next?
BEOWULF:
Eve, Eve, be still. I am with you. I will hold you. Shh, shh.
MOTHER:
(Stirs slightly, moans in pain.)
Can I leave now? This room is so small… I can’t breathe.
BEOWULF:
(He gets up and takes the vial from his medical bag)
I have to help you. You won’t last the afternoon…you’re being tortured with this pain— Eve, Eve. No, no, don’t scream like that—it will only make it worse. Mommy’s not here. I’ll help you…I can make the pain go away. Morphine, here it is, quickly, take it...you can sleep, you’ll be calm, peaceful. There will be no more pain while you go. There is no choice.
(He gives his mother more morphine, cradles her and sings.)
Good night, my star,
so bright you are
twinkling in the west.
The moon will rise
and soon your eyes
will close and you will rest.
Good night, good night,
Good night my dearest love.
Good night, my star
So bright you are
sparkling high above.
(He rocks her in his arms. Lights out.)
BEOWULF:
(Alone, in his room, readying himself for bed)
I am here at home. I am here at home. I am not at the base. That’s over.
(Pause for a few minutes in silence before the music begins)
(It is night. As the instrumental overture plays, we watch Beowulf ready himself for bed. He brushes his teeth, combs his hair, buttons his pajamas. He is neat, clean, organized. His bed is immaculately made, no wrinkles, white sheets. He goes to his medicine cabinet, takes a few tablets. He looks at himself for a few minutes in the mirror. Finally he climbs into bed.)
I am here at home. I am here at home. I am not at the base. That’s over.
Act I Scene 1
(A loud crash of thunder outside his window triggers a flashback to the war and to a traumatic experience he had as an army doctor. He gets up, reliving the experience.)
Mortar explosion…Hello! Who’s there? Who’s there? Anybody? Oh my god…Blood everywhere. Hold on. Stay with me. I’m a doctor—I can make you better. What is your name? Eve? Let me look at you. (Pauses) We’ll find your mommy. Just don’t sleep, Eve. Stay with me. Hold still. Let me look. What songs do you know? Let’s sing together.
All around the cobbler’s bench, the monkey chased the weasel; the monkey thought ‘twas all in sport, POP! goes the weasel!
Hold still—I’m just going to wrap your head here. See this gauze? Isn’t it nice—like a spider web: so soft and strong and fine.
All around the cobbler’s bench the monkey chased the weasel, the monkey thought ‘twas all in sport, pop! goes the weasel!
Sing, Eve, sing with me. Your voice is so lovely and that song is such fun! Shh, shh, don’t cry. Not yet. Not yet. There will be plenty time for that after you heal. Shh. We’ll find your mommy. I will make sure you are safe.
(He cradles his blankets. Another crash of thunder. He comes out of the flashback, letting his blankets go.)
I am here at home. I am here at home. I am not at the base. That’s over.
(Lights out)
Scene II
BEOWULF:
(At a nursing home. Beowulf enters his mother’s room. She is sitting in a chair. There is a bed right next to the chair.)
Mother, how are you feeling? Have you walked around? Did a nurse walk with you around the halls?
MOTHER:
You are here finally! I’ve missed you. How long has it been since you were here?
BEOWULF:
Yesterday evening, Mother.
MOTHER:
Oh that’s right. How are you? There was thunder and lightening all night here. Did you sleep last night?
BEOWULF:
Tell me how you are feeling today, Mother.
MOTHER:
It feels as though I’ve been here for days and days. When can I go home again? I won’t be here for long. This isn’t it, is it, Beowulf?
BEOWULF:
Has a nurse been by in the last hour? Let me look at you. What’s this bruising on your arm? Did you fall? Bump yourself?
MOTHER:
The nurse hasn’t been here for a long time, I think…but what does an hour feel like here? It feels like a week. It feels as though I’ve been here for weeks and weeks. I don’t know when the last time was a nurse was here. That nurse—the man—he’s trying to kill me… he gives me the wrong pills. I’ve been feeling worse since he’s been giving me the pills.
BEOWULF:
Can you stand? I think you should walk around a little. Here, take my hand.
(Gives her his hand and helps her to her feet. She stands for a moment, loses her balance and sits down again abruptly and awkwardly.)
MOTHER:
When can I go home? I miss my own bed, and my pillow. These pillows are so small and hard. I miss filling the birdfeeder and watching the finches flock outside my window. I miss the soup I make on Sundays. I miss my kitchen clock. I miss my bookshelves with rows of dusty spines. I miss opening my curtains in the morning and walking with my bare feet on my own clean floors.
BEOWULF:
You’re dehydrated, Mother.
(He pushes the call button on the side of her hospital bed. A nurse enters.)
NURSE:
Here you are, sweetheart; let’s take your blood pressure. Oh hello, Doctor. And time for your meds.
(He approaches Mother with a blood pressure cuff and several bottles of pills.)
MOTHER:
I’m not going to take those pills. They’re not the right ones. Ever since you’ve been giving me those pills I’ve felt worse.
NURSE:
Come on, sweetheart. You’ve got to take your meds.
BEOWULF:
Has she fallen? She has bruising on her arm that is new since yesterday. It’s not normal for her to bruise like that.
NURSE:
No falls. (To Mother) Here, sweetheart. Here’s the pills.
MOTHER:
No! No! You’re trying to kill me! I know these are not the right pills—these are not the ones my son prescribed… you’re trying to kill me!
(She refuses to take the pills)
BEOWULF:
She’s dehydrated. Let’s get her on an IV drip right away.
NURSE:
Yes, Doctor.
(Exits)
BEOWULF:
Mother, what’s going on?
MOTHER:
He’s rough with me all the time when you’re not here. He’s a bad man, Beowulf. He likes to inflict pain on me. I know he’s trying to kill me. There are people like that. Just let me get back to my own home. I’ll be fine if I can just go home.
BEOWULF:
You know you aren’t well enough to live alone. (Beowulf’s pager goes off.) I’ll be right back.
(Exit Beowulf. Nurse enters with an IV; seems to be making several unsuccessful attempts to the needle in. Mother struggles, but the IV goes in. Nurse pats her hand and exits. After a couple of minutes, Beowulf enters; goes back to Mother’s bed. She is moaning, tugging at the IV.)
What happened here? Missed the vein? Bruising, more and more bruising…
(He removes the IV—angrily pushes the call button for the Nurse, who reenters quickly.)
BEOWULF:
You Missed the vein.
NURSE:
Doctor, I’m terribly sorry. It looked all right when I did it.
BEOWULF:
You have to stay and be sure. She is having trouble with bruising; when that is the case, you have to be careful.
NURSE:
I’m sorry doctor.
MOTHER:
He’s trying to kill me! Just get me home. I need to get out of here now! Please get me out of here now!
(Lights fade as Beowulf assists his mother out of the room, gathering up her sweater and helping her put on her shoes. The exit, leaving the nurse behind.)
Act II Scene I
BEOWULF:
(Sitting on a chair by his Mother’s bed. They are at his home.)
I’ll take care of you. You’ll be fine here.
MOTHER:
That’s what I used to promise you when you were a child. I kept you safe, Beowulf. I promised you would be safe.
BEOWULF:
Now it is my turn to keep you safe.
MOTHER:
Wash your hands, Beowulf—I used to tell you. Always wash your hands so that you don’t get sick. You could get sick—you could die, so wash your hands. And at night as soon as it got dark, I would draw the blinds and bolt the door. Your windows were never open at night—children are kidnapped at night because no one hears the man sneaking in the open window. Carried off, lost, missing… close your windows, Beowulf; I will lock them and pull your curtains tight together. Nothing will harm you. And I would sing you to sleep:
MOTHER AND BEOWULF:
Good night, my star,
so bright you are
twinkling in the west.
The moon will rise
and soon your eyes
will close and you will rest.
Good night, good night,
Good night my dearest love.
Good night, my star
So bright you are
sparkling high above.
(Lights out. Brief musical interlude.)
Scene II
(Beowulf is at the hospital. He is performing a surgery on a small child. Two assistants— perhaps played by instrumentalists who are not playing during the scene—hand Beowulf instruments as he performs the surgery.)
BEOWULF:
Give me that gauze. We need a little more around her head, here. I’ll watch her for a few minutes. Go make sure a bed is ready for her in recovery. Let her mother know she’ll be all right.
(Assistant gives Beowulf gauze, then leaves the room. Beowulf wraps the gauze around the child’s head. He is back in the mortar explosion at war taking care of the little girl Eve.)
See this gauze? Isn’t it nice—like a spider web: soft and strong and fine. You’ll get better, Eve, you’ll be well again soon. (Pause) We’ll find your mommy. She’ll be here soon. There, there. Don’t cry, don’t cry.
(He strokes the child’s face, saying “shh, shh” softly. Lights fade.)
Scene III
(Beowulf comes through the door frame; he is returning home from the hospital. His mother is not on the couch. She is huddled on the floor.)
BEOWULF:
Mother? Are you all right?
MOTHER:
Beowulf, I think there’s someone at the house… there are strange noises outside the living room window—there’s someone looking in the window. Beowulf, there’s someone going to break in the house. And the rain has started again. I hear thunder in the distance too.
BEOWULF:
There’s no one outside, Mother. It’s just the rain you hear.
MOTHER:
Someone has been watching me through the windows; I can’t reach the blinds to close them. It’s that nurse, Beowulf. He wants to kill me. He knows where I am and he wants to come here and kill me.
BEOWULF:
Come, Mother; let’s get you back in your chair. I will close the blinds, but there is no one looking in the windows. You are safe.
(He helps her sit down, and goes to the edge of the stage to close the blinds.)
MOTHER:
Are the windows locked? You opened one earlier today because I said I couldn’t breathe. I couldn’t see if you locked it before you left. I’m too weak to move the latch myself.
BEOWULF:
No one is outside. All the windows are locked. The blinds are drawn. You are safe.
MOTHER:
Just make sure. I know he was here. He was outside these windows, I could see his face looking in.
(Beowulf goes to the door frame. He looks out, then returns to his mother.)
No one is out there. There is no need to be frightened. I’m here now.
MOTHER:
I’m tired, Beowulf. Help me get to the couch. I just want to sleep a little.
(He helps her lie down on the couch and covers her with a light blanket.)
Beowulf, this is no way to live. I know... I know I won’t be going back home again. Unless just to say goodbye, if you take me there—go through my things, pick up a few more clothes.
Beowulf, this is no way to say goodbye... I don’t want to go to sleep angry or scared. Let’s drive someplace on the next sunny day. Just a day trip, just the afternoon. I want to
see the ocean one last time. And give me something so I won’t feel it—just drifting to where I can stay. Then drive me home, carry me to my bed and hold my hand. I’ll be drifting—the gentlest of sailing, I’ll cross the river with a smile, gratefully, gratefully...
BEOWULF:
Mother, you are not thinking straight...
(He turns has face away from her so she won’t see his tears. He sits on the edge of the couch holding her hand until she falls asleep.
After a few minutes, there is a knock at the door. Beowulf answers it. It is the nurse from the nursing home. He is carrying a watch.)
NURSE:
Your mother left this at the home. I thought I might as well bring it by.
BEOWULF:
Thank you. You’d better get back to your car. We’re having another thunderstorm.
NURSE:
Is that all you have to say?
BEOWULF:
What do you want me to say? What else should I have to say?
NURSE:
People at the home don’t trust me anymore. She told other residents I was rough with her —those rumors spread like wildfire after you took her away.
BEOWULF:
I’m sorry…but what can I do? My mother was unhappy. She’s confused, dying. I wanted her to be with me. Now please, my mother is sleeping. Please be on your way.
(He withdraws from the door frame. The nurse pauses for a moment, watching him, then turns and exits.)
MOTHER:
(Roused a little from her sleep—partially sitting up)
Was someone here just now? Is everything all right? Who was that?
BEOWULF:
It was nothing, Mother. Can you drink a little ginger ale?
MOTHER:
I just want some Tylenol. I’m tired. This room is getting smaller, Beowulf. It wasn’t so small when I got here. Can’t you move something out to make it less crowded? Just take that table away…put it in the hall. If I get up in the night I’m going to bump into that table. You’re going to have a fire in here it’s so crowded. Make sure you turn out the light so that if I bump that table in the night there won’t be a fire when the light falls onto the floor. I need to sleep. I sleep so much. I didn’t used to sleep so much.
BEOWULF:
Lie down, you’re dizzy. I’ll get you ready for bed.
(Return of some musical material from the overture as Beowulf readies his mother for bed. He helps her brush her teeth. He slips on and buttons her pajamas, and hands her a mirror so that she can look at herself while he combs her hair. She looks at herself)
MOTHER:
I am here with my son. I am here with my son. I am not in my own house. It’s over.
(Beowulf hands her some pills and a glass of water. She takes them, and then he eases her back down on the couch and covers her. Then he gives her a little vial.)
What is this, Beowulf?
BEOWULF:
It is a small dose of morphine to help you sleep.
(She drinks it and hands him the vial. He kisses her forehead, watches her as she falls asleep. He sits on the edge of the bed, holding her hand.)
You used to sing to me to sleep when I was little. I loved your voice.
(He watches her, not moving. We hear the rain and storm outside. Then there is a loud crash of thunder outside—he flashes back again.)
No, no, Eve. You’re going to getting better. No, don’t—don’t! Oh my god… she won’t last—she’s in such pain…Eve, no—oh god, stay still! Quick, let me give you this…it will make the pain fade. Shh, shh…
(He kneels next to the couch, touches his mother’s head. Another loud clap of thunder.)
MOTHER:
Who’s there? What happens next?
BEOWULF:
Eve, Eve, be still. I am with you. I will hold you. Shh, shh.
MOTHER:
(Stirs slightly, moans in pain.)
Can I leave now? This room is so small… I can’t breathe.
BEOWULF:
(He gets up and takes the vial from his medical bag)
I have to help you. You won’t last the afternoon…you’re being tortured with this pain— Eve, Eve. No, no, don’t scream like that—it will only make it worse. Mommy’s not here. I’ll help you…I can make the pain go away. Morphine, here it is, quickly, take it...you can sleep, you’ll be calm, peaceful. There will be no more pain while you go. There is no choice.
(He gives his mother more morphine, cradles her and sings.)
Good night, my star,
so bright you are
twinkling in the west.
The moon will rise
and soon your eyes
will close and you will rest.
Good night, good night,
Good night my dearest love.
Good night, my star
So bright you are
sparkling high above.
(He rocks her in his arms. Lights out.)
ACKNOWLEDGEMENT OF VETERANS
We understand this show explores the experiences many veterans traverse daily. We present these topics, particularly those around mental health, with respect and humility. We hope this performance serves to educate and spark greater empathy for members of our community and their families who are bravely navigating mental health struggles from military service.
LAND ACKNOWLEDGEMENT
We gratefully acknowledge that we gather on unceded ancestral land of many nations of Native Peoples who were forcibly removed from their home, such as the Council of Three Fires: Ojibwe, Odawa, and Potawatomi. Our goal in presenting any performance is to connect in new and meaningful ways with our community, particularly those who have been and are marginalized. Today and every day, we commit to respect and celebrate Indigenous People, their culture, and their rights to this space.
SPECIAL THANKS
Chicago Fringe Opera
Clint Funk - Press/Production Photography
Lisa Page
Peckham Media Productions - Videographer
Tamzin Ritchie - Promotional artwork
Nicci Schumacher
Nancy Toyama
Clint Funk - Press/Production Photography
Lisa Page
Peckham Media Productions - Videographer
Tamzin Ritchie - Promotional artwork
Nicci Schumacher
Nancy Toyama
NON-PROFIT PARTNER
As part of our mission to advocate for human rights and social justice, Third Eye Theatre Ensemble is partnering with PAWWS. For every ticket purchased, Third Eye will donate $1 to this organization.
PAWWS is a nonprofit organization providing service dogs to our country’s combat veterans to help them re-enter civilian life. PAWWS dogs can aid soldiers with Post Traumatic Stress Disorder (PTSD) and Traumatic Brain Injuries (TBI) cope with these issues and live more independently after a career in the armed forces.
PAWWS is a nonprofit organization providing service dogs to our country’s combat veterans to help them re-enter civilian life. PAWWS dogs can aid soldiers with Post Traumatic Stress Disorder (PTSD) and Traumatic Brain Injuries (TBI) cope with these issues and live more independently after a career in the armed forces.
DONORS
Third Eye Theatre Ensemble is immensely grateful for the individuals and businesses who support our mission of presenting new or seldom performed operatic works that inspire conversation while advocating for human rights and social justice. We could not do it without all of you! We also want to acknowledge the numerous individuals who donated through Facebook and who's names are not listed below due to lack of visibility.
Leila Ahmed & Mike Wise |
Mona Ahmed & Chris Hughes |
Rena Ahmed & Jonathan Young |
Tammy Ahmed & Nathan Wise |
Stephanie Berliant |
Susanna Bernardinis |
John Bicknell |
Theresa Born |
Carissa Casbon LaTourette |
Kristy Combs |
Natalie Drayton |
Hillary Esqueda |
Liz Falstreau |
Laura Fisher |
Tracey Furling |
Noah Gartner |
Sean Hargadon |
Cheryl Houston |
Jodie Joweki |
Caitleen Kahn |
Claire Kaplan |
Nat Kier |
Cory Krebsbach |
Leslie Lehman |
Jennifer Maniscalco |
Gabriela Marquez |
Lex McCauley |
Vince McPherson |
Jan Mieure |
Jerry Miller |
Bradley Norris |
Leah Piekarz |
Renata Riccobon |
Tamzin Ritchie |
Sue & Dave Rock |
Nicole Schlosser |
Ahmed Siddiqui |
Alexandra & David Starr |
Susan Takaki |
Nancy Toyama |
Susan Wallace |
Jonathan Wilson |
Jim & Dana Young |
Farhad Zulfiqar |
Landen Zumwalt |
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COMPANY & BOARD
Rena Ahmed*+ |
Angela Born* |
Alexis Enyart* |
Rose Freeman* |
Tracey Furling* |
Noah Gartner* |
Mary Lutz Govertsen* |
Shelby Krarup* |
Jan Mieure+ |
Tamzin Ritchie+ |
Jan Mieure+ |
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(*Company Member, +Board Member)