INTERVIEW: New Camerata Opera enters the heist game with ‘The Brooklyn Job’
Photo: New Camerata Opera presents The Brooklyn Job about a museum heist for virtual audiences. Photo courtesy of New Camerata Opera / Provided by Michelle Tabnick PR with permission.
There’s only one performance left of New Camerata Opera’s world-premiere production of The Brooklyn Job, written and directed by comedian Sarah Morgan Ashley. The show is billed as an interactive virtual museum heist performed by 10 singers. While the performance features on-location shoots and professionally recorded audio, not everything is necessarily set in stone. There are also engaging audience chats and polls that create a unique experience at each performance.
The final performance of The Brooklyn Job is set for May 8 at 8 p.m., with tickets costing $40.
The cast for The Brooklyn Job consists of sopranos Samina Aslam and Barbara Porto; mezzo-sopranos Eva Parr, Julia Tang and Anna Tonna; tenors Erik Bagger and Victor Khodadad; baritones Stan Lacy and Scott Lindroth; and bass Kofi Hayford.
Recently Hollywood Soapbox exchanged emails with Ashley about the new show. She is a New York-based actor, comedian and baker originally from Tennessee. She performs weekly at the Peoples Improv Theater and is an alumna of Upright Citizens Brigade. Questions and answers have been slightly edited for style.
How did you get the idea for The Brooklyn Job?
The idea for The Brooklyn Job evolved collaboratively through NCO and me. When they approached me for the project, they requested that I write a comedic heist. I jumped at the opportunity not only because I’ve always loved heist movies, but mostly because I’d been hoping to work with NCO for a long time.
Having the genre up-top certainly helped as a launchpad to exploring different character archetypes in the story. We began with a series of improv-based rehearsals to develop each cast member’s role within the genre. The story unfolded largely in these rehearsals through improv games and exercises. Once I actually began writing the script, it felt easy; we had worked out many of the character details beforehand.
What is the experience like from the audience member’s perspective?
Because of COVID, we developed The Brooklyn Job as an online performance with a mix of pre-recorded material, live improvised elements and moments for audience participation. Viewing shows online is a different experience than seeing theater in person; however, my hope is that the audience will find it engaging in a new, interesting way.
One key difference the audience may expect is the new communication channels available to them during the show. While the performers won’t be able to hear applause or cheers, the audience may talk directly with the performers through the chat feature on Zoom. That’s pretty exciting to me, and I’m looking forward to participating as an audience member myself!
In your writing and directing for this piece, did you lean on any skills you have gained while being a comedian?
Much of my work in comedy is in the improv world. I love improv because of its collaborative nature; improvisers literally build a story from a single word through the celebration of their scene partner’s ideas. It’s incredible.
When I write, I enjoy building a story with the same spirit of collaboration and enthusiasm. Thankfully, NCO was down to work in this way too! Much of the script was built on characters created through improv rehearsals we scheduled early on in the process. So, yes, I absolutely leaned on my comedy background to write this script — and most everything I develop for the stage/screen!
How difficult was it to bring this project together during a global pandemic?
NCO was a dream-team to work with — the entire company worked together to make this project happen. Honestly, I feel like I had the easiest job of everybody!
And look, there will always be challenges in creating new work — whether it’s a pandemic or something else. That’s just part of it. But I choose not to focus on how difficult something is in the process; instead, I focus on how lucky I am to have the ability to create new work with talented, passionate people who share a love for storytelling. That makes the challenges more exciting than daunting!
Why is it important to have companies like New Camerata Opera?
NCO consistently celebrates stories and composers who have been underrepresented in the past. Their performances are cool and accessible. They’re committed to representing the diversity of New York City. I can’t think of another opera company like them — they’re truly unique.
What’s the future look like for your career? Are you hopeful to get back to a somewhat normal performance schedule?
I’m beyond ready to return to the stage for live shows — hopefully sooner than later. My cat is pretty tired of hearing my jokes.
By John Soltes / Publisher / John@HollywoodSoapbox.com
New Camerata Opera’s The Brooklyn Job, written and directed by Sarah Morgan Ashley, will play Saturday, May 8 at 8 p.m. Click here for more information and tickets.
