Julian Philips' "Knight Crew" had its premiere this past month, is described as a "new youth opera for 14-19 year olds," and is available for download through Glyndebourne. It's a retelling of Arthurian myths in two acts, with the theme of--wait for it--gang violence at its center. King Arthur meets West Side Story? The "Knight Crew" are deadly enemies of the Saxons, and Art kills a Saxon in the battle which functions as his initiation (after which he is haunted, like Richard III, by a chorus accusing him of his bloody deed.) To be honest, I was more intrigued than enthused by the premise. Putting my defensiveness of my beloved King Arthur legends aside, though, I have to admit that a gritty, urban adaptation of the basic outlines of Arthur's political rise and fall (mostly taken, it would seem, from Malory and the Matter of Britain) makes for a story that--like the originals--raises challenging questions about the nature of loyalty, cultures of violence, and the foundations of legitimate authority. Photos of production rehearsals may be found here.
Showing posts with label Knight Crew. Show all posts
Showing posts with label Knight Crew. Show all posts
Sunday, March 28, 2010
Knight Crew
Well, I've survived the conference! More than that, I have learned a great deal about medieval Scandinavia. Rather to my own astonishment, I think I might have successfully "networked." And as a bonus, I learned about a new opera!
Julian Philips' "Knight Crew" had its premiere this past month, is described as a "new youth opera for 14-19 year olds," and is available for download through Glyndebourne. It's a retelling of Arthurian myths in two acts, with the theme of--wait for it--gang violence at its center. King Arthur meets West Side Story? The "Knight Crew" are deadly enemies of the Saxons, and Art kills a Saxon in the battle which functions as his initiation (after which he is haunted, like Richard III, by a chorus accusing him of his bloody deed.) To be honest, I was more intrigued than enthused by the premise. Putting my defensiveness of my beloved King Arthur legends aside, though, I have to admit that a gritty, urban adaptation of the basic outlines of Arthur's political rise and fall (mostly taken, it would seem, from Malory and the Matter of Britain) makes for a story that--like the originals--raises challenging questions about the nature of loyalty, cultures of violence, and the foundations of legitimate authority. Photos of production rehearsals may be found here.
Julian Philips' "Knight Crew" had its premiere this past month, is described as a "new youth opera for 14-19 year olds," and is available for download through Glyndebourne. It's a retelling of Arthurian myths in two acts, with the theme of--wait for it--gang violence at its center. King Arthur meets West Side Story? The "Knight Crew" are deadly enemies of the Saxons, and Art kills a Saxon in the battle which functions as his initiation (after which he is haunted, like Richard III, by a chorus accusing him of his bloody deed.) To be honest, I was more intrigued than enthused by the premise. Putting my defensiveness of my beloved King Arthur legends aside, though, I have to admit that a gritty, urban adaptation of the basic outlines of Arthur's political rise and fall (mostly taken, it would seem, from Malory and the Matter of Britain) makes for a story that--like the originals--raises challenging questions about the nature of loyalty, cultures of violence, and the foundations of legitimate authority. Photos of production rehearsals may be found here.
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