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The Crucible Celebrates its Fifth Anniversary
in Style with a Fire Opera

The Crucible faculty executed a live bronze pour on stage when a glowing crucible, representing the sun god Pheobus, flew in on the bridge crane during the opening sequence. Silver-clad foundry instructors poured the liquid metal into the mold of a spear set at the stage's edge, almost singeing the eyebrows of the front row.

Then, as the music swelled, the still-smoldering weapon was lifted from the mold and quenched in a cloud of steam. It went on to be used as a prop throughout the performance, finally burying itself in Dido's breast during her final act of despair.

Regulars at Crucible events would have recognized some of the other performers. Musician and songwriter Mark Growden, dressed as a satyr, worked his magic with a piece of text from the opera to which the score had been lost. He set the words to music and played a sweet melody on a piece of metal pipe.

Ultra Gypsy portrayed the Neriads, using the movements of North African trance dancing to depict the storm-tossed seas and tumultuous nature of love. And Xeno appeared as raucous sailors, arriving in a ship made out of a forklift and bulldozer scoop to lure Aeneas away with their fiery bacchanalia. Xeno musical director Austin Lewis capitalized on his operatic training and sang from the original score.

Produced and designed by The Crucible's own Michael Sturtz, and directed by San Francisco Opera Associate Director Roy Rallo, the entire production was a collaboration between artistic genres that would scarcely nod as they passed each other in the street, much less work side by side. Yet the result was an original performance where contrasts became compliments and the performers were just as invigorated as the audience.

"It was a terrific experience," said Ms. Rohrer, "the arts truly combined to enlighten and project the human condition and spirit. As a singer and actress I was in awe of the other artists and felt blessed to be there and a part of this project."

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All event photos @ 2004 Edgar Lee, all rights reserved