Grand Affair :: ‘Behemoth’

So just because—I outlined the substance of the Opera, “Behemoth” by Walker Sherwood Long.

The story of a naval captain shipwrecked on an uncharted island kingdom ruled by a Queen. The Queen owes part of her very long life and peaceful rule to her relationship with the island, which is not natural but in reality a Behemoth. When the Queen falls in love with the naval captain, the Behemoth begins to explore this new relationship by possessing at times the Captain, at times the Queen, and at times the Queen’s best friend and Advisor in an effort to investigate love. The triangle mix up provides comedy and terrible confusions.

Needless to say, I know nothing much about Opera.
What occurred to me about this was, that the singers would have the challenge of communicating to the audience in song range and word when they were ‘possessed’ by the Behemoth. Each principal singer would have two parts to play: their own character and the hidden Behemoth.
RolePlaying inside of role-playing.

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6 comments

  1. Now, go to the twiki, and under his little site, add LongWorks, and put this in there. You’ll want that page as Mel and I and everyone else (likely Ginger) start referencing your work (i.e. making up things you’ve done) in game – like you guys do to me.
    I’m going to love watching how that page fills up with stuff.

  2. Ex-actly.
    Of course, I should make it clear that I like it that people do this. It saves me having to make up the entire body of work. Passel talks about seeing a play in Kashfa, where Francesca has never been. What would that play be about? Horses, of course. Who would have inspired it? Rhys, of course. Would Begmans hate it? Of course.
    So what the hell is this play called?
    Well, for inspiration I go looking at Wil’s stuff, basically because it’s the easiest to get to. And Wil has Measure for Measure. Excellent. How do you measure a horse?
    Hands.
    Hand for Hand. And it has a nice double meaning in the play. Which I haven’t discussed yet, or written down even, but someone can bring it up whenever they want to.

  3. Re: singing one body with two different minds:
    In the Frank Wildhorn ‘Jekyll and Hyde’ musical, one actor plays both of the title roles (naturally) and is forced to switch back and forth solely with voice and body langauge. In the big number at the end, the two actually have a conversation. When well done, that bit is a fantastic piece of theatre. (Alas, the rest of show has frequent dodgy bits.)

  4. Having just this weekend finally caught ‘LXG’ and the Jekyll portrayal there, I find that a pretty good notation.
    Thanks for the heads up.
    btw: the ‘making of’ Hyde part of the DvD rental was pretty cool. Shows what an actor can do with a bit of foam latex and hours ‘n’ hours of patience.

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