Issue link: http://digital.canadawide.com/i/398704
Stickboy Opera Photos: Aaron Kostriuk; Caren Tereschak; Angela Wang Composer Neil Weisensel calls Stickboy a dream project because it deals with a compelling and socially potent topic. When the original composer had to drop the project, Weisensel jumped at the invitation and opportunity to work with Vancouver Opera, the country's second-largest opera company and one that he knew would bring excellent production values and singers to Stickboy. Weisensel was drawn to the unconventionality of this opera; Stickboy incorporates video and animation by the creative team at Giant Ant, which pro- duced Koyczan's viral video To This Day, as well as non-musical sounds to punctuate the storyline. And, like Wright, he loved the theme. It had the requisite tension and drama that forms the core of all good opera, but it tackled a subject that's close to the heart of all parents or anyone who's had experience with bullying – either as the target, a passive onlooker who regrets not stepping in, or as a bully oneself. "When I first saw the libretto I was very impressed," says the Winnipeg-based composer. "Shane was a very good collaborator. He's not a musician, per se, but he works with musicians and he has a great musical sensibility. When he had something to say about the music, I listened – it's his life, after all." Weisensel hopes and believes Stickboy will reach a new opera audi- ence for a number of reasons, not the least of which is the renown and appeal of a hip spoken-word artist like Koyczan. Its fusion of tradi- tional opera with other media, and the fact that it will be performed in English, will also help. In addition, the use of sur-titles – words projected above the stage as they are sung – will ensure that all audi- ence members can follow the twists and turns of the plot. "As a word, 'opera' comes with so much baggage," says Weisensel. "I really think Stickboy could be a game changer." With the ink now dry on the libretto, Koyczan gets to sit back and enjoy the audience response. He is still moved by the many let- ters and messages he receives from people touched by Stickboy, the book. If his life story, now cast in operatic form, helps reach new audiences, touch lives and promote more dialogue about one of the more troubling challenges faced by school-age youth, then he'll be happy. He says he hopes people will see how tiny little shifts and almost imperceptible changes can happen in a person, how easy it is to go from one to another, from bullied to bully. "It's hard to step aside and say, 'Okay, here's my life, good luck with it,'" Koyczan says with a laugh, recalling the moment this past summer that he left the finished libretto in the capable hands of Vancouver Opera. "You know people say that 'opera' is a loaded word, but I'm a poet and so is 'poetry.' I'm really excited about it." If you would like to learn more about Vancouver Opera's Stickboy production, go to vancouveropera.ca. To support innovative arts and cultural initiatives like this, call Kristin in Development & Donor Services at Vancouver Foundation at 604.629.5186, or visit our website at vancouverfoundation.ca/give (top) Composer Neil Weisensel was drawn to the unconventionality of a production that combines opera with video, animation and sound effects; (below) workshopping the libretto, musical score and staging of Stickboy.