While browsing Bandcamp the other day, I stumbled upon this little gem: an opera in 4-acts with a Steampunk setting!
Now, I've been pretty into Steampunk ever since I discovered it - an alternative history where Victorian-esque, steam-powered machines are the primary source of power (think Jules Verne and H. G. Wells) really appeals to me, for some reason. On top of that, I've loved musical theatre and opera from a very young age.
So I was going to find a combination of the two pretty awesome anyway, but Paul Shepera, the creator, has designed one of the most unique and exciting musical experiences I've come across in a long time.
Unfortunately, there has only ever been one small live performance of the opera, but the soundtrack is available to listen for free or to purchase (if you're feeling generous) here.
Now, I've been pretty into Steampunk ever since I discovered it - an alternative history where Victorian-esque, steam-powered machines are the primary source of power (think Jules Verne and H. G. Wells) really appeals to me, for some reason. On top of that, I've loved musical theatre and opera from a very young age.
So I was going to find a combination of the two pretty awesome anyway, but Paul Shepera, the creator, has designed one of the most unique and exciting musical experiences I've come across in a long time.
Unfortunately, there has only ever been one small live performance of the opera, but the soundtrack is available to listen for free or to purchase (if you're feeling generous) here.
The opera follows 4 generations of the McAlistair family, and is set in the fantastical city of New Albion - a city where the Mafia is run by a one-eyed dwarf who makes decisions using a pair of silver dice and where the head of the Zeppelin Pilot's Union is a middle-aged castrato whose singing can be heard from the ground as he flies overhead.
And Annabel McAlistair is raising up the dead.
Annabel McAlistair certainly has the whole 'mad scientist' shtick going on as she rushes around her laboratory attempting to bring a mannequin doll to life. She manages to harness the soul of her recently-deceased lover, Jasper, in the mannequin, inadvertently setting in motion a chain of events which transform New Albion from a (mostly) harmless dwelling for "the nice, the wise, the eccentric, the insane" into a militaristic dictator state.
Aside from the brilliant score and fabulous vocals (sung by Lauren Osborne, Jason Broderick and Kayleigh McKnight), what made The Dolls of New Albion so brilliant for me was Paul Shepera's inclusion of small details that have little impact on the story but bring the setting to life. Have a listen to the opening number, in which the Narrator sets the scene for the first act.
The thieves at the Alchemist's Guild and the fake aphrodisiac are nice touches. Similar reprises of this song occur at the beginning of each act, getting gradually darker in tone as New Albion falls into depravity. We're told about a meditating plant in the Botanists' lodge and the one-eyed Mafia dwarf's legacy is developed briefly. The monk and the gambler's story also gets expanded, even though it has no real significance other than to further creepify the plot, and we're introduced to a band of four cat-burglars (my personal favourite characters in the entire opera, despite only appearing in 5 lines of text) - two women, Simon the albatross, and "a brilliant mouse named Sam".
After Annabel dies, her son (Edgar McAlistair) uses her formula for raising the dead to create a business. The craze of bringing back deceased loved ones sweeps New Albion creating a new race of mechanical dolls with human souls. Yet, there's something fishy about these dolls. They don't walk or talk - they're merely blank slates for their friends and families to project onto. These miserable dolls fill the city and spill into slums.
The third act (and generation) introduces Byron McAlistair - a homosexual voodoopunk enthusiast whose attempts to get a doll elected for mayor provoke riots and uproar. This is further exacerbated when the suicide of a young girl is blamed on the dolls. A mass-burning of all of the dolls ensues and the dolls are eventually outlawed. The military takes command of the city and the few surviving dolls are forced into hiding.
I won't spoil the ending of the opera; suffice to say it manages to be devastating, heart-wrenching and uplifting all at once. It's truly a remarkable piece of music and stagecraft.
The Dolls of New Albion is to be the first in a trilogy of operas set in the city. The second instalment (a dieselpunk opera) is in the process of being written at the moment and I, for one, am really really excited for the next chapter.
More information about Paul Shapera and New Albion can be found here.