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We are delighted to introduce our patrons to Rose Freeman, the Stage Director for LOON’s first-ever production of La Bohème.
Click Rose's photo to read zir bio, and and enjoy a glimpse of the process, vision, and background Rose brings to La Bohème in the following Q & A.
LOON: What is the role of the Stage Director in an opera production? What do you most enjoy about being a stage director, and what challenges does it present?
RF: A staging director is the visual translator, the audience representative, and the environment creator. All these artists are coming together to breathe life into an iconic piece of music and theatre. The staging director welcomes these collaborators and stories and then loves them until they meld together enough to welcome the final collaborator - the audience. This kind of work is a joy that cannot be named. I am truly in love with the efforts of my artform and the people that inhabit it. I wake up every day grateful to be in a rehearsal room.
That said, of course there are challenges. You go into directing because somewhere somehow you want control, and a director doesn't actually have any control. Stage directing is a spiritual practice of releasing control and letting the story and storytellers do what they do best. Also sometimes you get told you can't have a disco ball or a live horse or whatever ridiculous thing you've dreamed up and that's sad.
LOON: This is one of the most popular and well known operas of all time. How does that impact your approach? What will be special or different about LOON’s production?
RF: Super intimidating. So many people have a vision and dream or memory of this iconic production. It's tempting to try to live up to those dreams instead of creating a new beautiful production that gives the LOON community their own Bohème that is distinctly theirs.
LOON: This opera is set in 1830. What about the story makes it relevant today?
RF: This story is eternal because of its relevancy. Rereading this libretto sent me reeling to an essential time of my life where I lived with a chosen family of artists. We made art, desperately needed money (but didn't worry about it) and loved each other wildly and ferociously. There is so much temptation to think you are the first of something, but communities of artists coming together to create together and support each other has been around seemingly forever. All our great media, art, and comforts come from these vibrant young wild communities and they will continue to change the world.
Bohème isn't just about falling in love, its about the love that surrounds the couple and so desperately wants to hold them. Now in this era of encouraged isolation, it is more important than ever to see chosen family loving each other the best they can and knowing that we must accept the love we're given if we're going to flourish and survive.
LOON: Opera is often dramatic and tragic, and this story is no exception. Why is it important to keep telling these old stories? Are there any unique challenges to directing this particular tragedy?
RF: I often joke as I enter the second act of an opera that we're re-entering the theatre to "go watch a nice lady die". This is no exception, it ends (spoiler alert) in the tragic death of a sick young lover, but that's not the tragedy of Bohème: the tragedy is that Rodolfo's jealousy got in the way of the time they did have. He pushed her away to save her, but damned both of them in the end. We must be brave enough to accept love as much as we are brave enough to give it or we lose everything.
LOON: What aspects of the Twin Ports are you looking forward to during your stay here?
I grew up sailing northern Lake Michigan and longing to spend time on Lake Superior. I suspect you'll find me staring at the lake quite a bit in my downtime.
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