The World Premiere of
MACHINE: A Fire Opera

January 11-14 and 18-21, 2012

Based on a short story by science fiction author Derek J. Goodman, MACHINE is set in a fiery industrial universe in which workers have sold themselves into a lifetime of servitude. When one worker regains his power of self-determination, the story ignites into an explosive brew of escape plots, alliances, and unlikely love interests. This spectacular performance features two opera singers, a rock singer and percussionists that “play” the scaffolding-like set. Visual effects including a molten metal pour, fire performers and industrial artists such as glass blowers and blacksmiths. MACHINE will deliver the kind of awe-inspiring performance that Crucible audiences have come to expect.

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Past Fire Ballets and Fire Operas

Dracul: Prince of Fire - Fire Ballet 2009 The Crucible’s Benefit Fire Ballet 2009
DRACUL: Prince of Fire
January 7-10 and 14-17, 2009

The story begins with Dracul exploring the dark outer regions of his land. He encounters something both monstrous and magnificent and is attacked. He feels strange fiery venom coursing through his body as it dies. But he is not dead. Dracul awakes infused with a strange power…

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As a spectacle, the show is—riveting. And the talent of performers and production staff is impressive…” – The Berkeley Daily Planet

The performances are unequivocally top notch. Nowhere this side of the Seine River are you likely to see such an extravaganza or partake of such a festival of sight and sound.” – Alameda Sun

From a group reenactment of Michael Jackson’s Thriller, to a fire-breathing metal dragon, to awe-inspiring feats of aerial ballet and fire tossing, Dracul doesn’t lack for eye-candy.” – Diablo Magazine

Firebird - Fire Ballet 2008 The Crucible’s Benefit Fire Ballet 2008
FIREBIRD: “L’oiseau de feu”
April 9-12 and 16-19, 2008

A theatrical spectacle that fuses ballet, classical music, and aerial performance with fire and industrial arts to create a compelling 1970’s retro-modern interpretation of Russian folklore.

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…one of the most visually stunning performances to take place thus far at The Crucible’s West Oakland warehouse.” – East Bay Voice

Leave it to The Crucible to remake a respectable work of art into a flaming, beautiful and shocking piece of theatre.” – Contra Costa Times

Awesome and fantastic; I wholeheartedly recommend this unusually creative ballet and any others performed at The Crucible. Captivating and magical, it’s an evening you’ll never forget (or ever see duplicated!)” – Urban Moto



Romeo and Juliet - Fire Ballet 2007 The Crucible’s Benefit Fire Ballet 2007
January 10-13 and 17-20, 2007

The Crucible celebrated its 8th Anniversary with a sizzling synthesis of dance and fire: The Most Excellent and Lamentable Tragedy of Romeo and Juliet—A Fire Ballet. In the dazzling tradition of The Crucible’s Fire Operas, this first-ever Fire Ballet was a theatrical spectacle that blended ballet, classical music, aerial performance, hip hop, fire, and the industrial arts into a compelling modernized rendition of Shakespeare’s tragic tale.

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Dazzling fight scenes—real fire when tempers flare!” – The Music Scene

…a dance performance that is both dazzling and highbrow. It is an un-matched, only-in-the-Bay-Area experience.” – Tri-Valley Herald

…the hottest performance of the season (literally)!” – SF Chronicle 96 Hours



Seven Deadly Sins - Fire Opera 2006 The Crucible’s Benefit Fire Opera 2006
January 11-14, 2006

Upon setting fire to the stage, Michael Sturtz, founder and Executive Director of The Crucible, welcomed the audience to its 7th anniversary fundraising event — Kurt Weill and Bertolt Brecht’s The Seven Deadly Sins — in a unique fusion of Opera and Fire Arts. Designed and produced by Sturtz, this unique production was directed by Roy Rallo and featured artists from San Francisco Opera and The Oakland East Bay Symphony, conducted by Sara Jobin.

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Dido and Aeneas - Fire Opera 2004 The Crucible’s Benefit Fire Opera 2004
DIDO & AENEAS by Henry Purcell
January 16 & 17, 2004

The Crucible’s production fused the elemental power of the fire arts with the intimacy of Purcell’s score in a revolutionary new staging, as opera soloists, chorus singers, and orchestra were accompanied by a backdrop of molten metal casting, glowing hot glass working, welding, torch cutting, and fire dancing.

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