The North-American premiere of Joachim Holbek’s and Rhea Leman’s 2015 opera, The Rosenbergs presents a new lens for looking at the relationship of Ethel and Julius Rosenberg, the US citizens convicted of spying for the Soviet Union. Drawing on their letters from prison in 1953, this moving exploration of the Rosenbergs’ personal and political commitment is intensely realised, with Christie Lee Gibson and Brian Church excelling as the doomed couple trying to navigate a difficult line between idealism and naivety. What would you be prepared to do for what you believe in? This is a production that allows The Rosenbergs a new trial, inviting the audience to come to its own conclusions about what moral responsibility means and how to exercise it.
JOACHIM HOLBEK is a Danish composer who started writing music for the theater and the ballet in 1981 and since has composed music for over 70 film and theater productions working with directors such as: Lars von Trier, Lone Scherfig, Ole Bornedal, and others. He has been awarded the Robert Prize for best film music four times and received the Honor Danish Film Award for music, BODIL.
An independent playwright, director, and screenwriter, RHEA LEMAN’s plays have been performed throughout Europe and the U.S.A., including awards and critical acclaim for THE ROSENBERGS (Best Opera of 2015 by CphCulture); HITLER ON THE ROOF; GORILLA (Reumert Committee nomination); Danish Committee for the Performing Arts Director’s Award; Allen Prize from the Danish Screen and Stage writers Guild for “excellent dramatic writing”. From 2003-2007, Rhea chaired The Danish Theater Council. She is the Artistic Director of Dramafronten, a platform for new play development.
READ MORE ABOUT THE DIRECTOR:
This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.
This post was written by Directed by Dmitry Troyanovsky, based on an opera by Joachim Holbek and Rhea Leman, Boston Playwrights’ Theatre (2018), USA.
The views expressed here belong to the author and do not necessarily reflect our views and opinions.