Meet the Artists: Writer/Director Chris Leyva

When we first had the crazy idea to produce two operas in the summer of 2006, Chris Leyva was one of the first people we called to join our cause. He's always up for a creative challenge - directing, designing, writing or adapting - and his spirit of ingenuity is contageous. Who else could have staged Le nozze di Figaro in four days, or decided to put on The Magic Flute with three ladders?

Tell us a little bit about yourself.

I'm originally from Albuquerque, New Mexico. I received an M.F.A. from the Playwrights Workshop at The University of Iowa and a B.A. in Directing from Coe College. I'm currently a "resident" playwright/director at coópera: Project Opera of Manhattan.  I mounted productions of Le Nozze di Figaro (2006) and Die Zauberflöte (2007) for coópera, and wrote an English adaptation of the dialogue for the latter. I mainly focus my directing muscles on the development of new works, including the development of my own plays!

What is your favorite opera you've ever sung in/directed/conducted/played in and why?

My favorite opera that I've directed would have to be The Magic Flute.  It might change in the future, but that was the one where I was there from start to finish, coming up with the crazy ladder idea and then seeing it unfold onstage.  Also working on the English translations of the dialogue scenes made the production especially personalized.  Just thinking about the performances makes me ridiculously giddy!

If you could play any operatic role in the repertoire, regardless of fach, what would it be and why?

I don't think anyone wants me performing in an opera...  Ever...  But, let's say I had some hot, operatic vocal skills, well, then I'd go for Marcello in La Bohème, not necessarily because I enjoy the opera, but because I don't think that rock operas count, so Mark in Rent would be off-limits.

Describe a fun or humorous POM memory.

In our interpretation of The Magic Flute, we had these wooden ladders.  Two 8 foot and 1 that was 12.  We rehearsed that week in a small gym-like space with high ceilings...  In the Queen of the Night's famous aria, I had the actresses climbing up on the 12 foot ladder as high as they felt comfortable going.  Both Queens (Dawn Wolski and Alyssa Bowlby) were daring and just headed right up the ladder.  There was one particular rehearsal, however, I believe it was the first time we had the huge ladder, and Alyssa charged up the ladder like a pro, but didn't realize how close her head was to these spinning ceiling fans!  The rest of the cast and crew nearly passed out!  Thankfully, she survived!

If you were a musical instrument, what would you be and why?

I think of myself as a piano.  Versatile and classic.  Up for whatever. 

If an opera were written about your life, what composer (living or dead) would write it? What famous singer could sing the role of you? 

The only composer I'd get to do an opera about me would be Danny Elfman.  I think only he could hit that level of mystery and humor that envelops my life! 

I don't really know, however, which singer I'd want to play me.  But whoever it is would need to become a master of physical comedy.  There'd be a lot of falling down in the opera...

Do you have any pre-show/audition traditions or superstitions?

The only tradition I can think of doesn't really count, since I don't believe that "pacing" can be construed as a tradition.

What is your favorite meal?

Veal Parmigiana. I no longer think that veal is particularly ethical, however, I haven't quite found something to replace it yet...

Where do you see yourself in 10 years?

Wow.  Ten years...  I'll try not to think of myself as 40...  But, at that time, I would see myself still doing what I'm doing: writing plays and directing.  I can see myself lurking about in some university setting, teaching.  I'd be taking my kids to rehearsals, especially future POM shows (what kid doesn't love opera?!).  Although, they'd have to skip most of "daddy's plays" until they're at least 17... 

I can't see myself not working with POM.  I'm not saying this because Miriam Browning-Nance asked for a PR quote, but because I'm a theatre artist and, as a theatre artist, I value community and collaboration.  The experiences I've had working with one of my dearest friends of the past decade and with all the artists at POM has really energized me in my own career.  Who would ever want to let go of that life-giving and joyful energy? 

What kind of music, besides opera, is on your iPod?

Broadway musicals & Film Scores.  Lots and LOTS of film scores, especially Danny Elfman & John Williams.  Over half of my "2 days" of music is film scores...

So much with so little -- a letter from the Managing Director

[The following letter was written by Miriam Browning-Nance, Managing Director, just after The Rape of Lucretia in September 2008. So much has happened in a year, and yet our sentiments are still the same. How thrilling it is to feel so strongly about what one does.]


For those of you who are familiar with POM, you know that this is a labor of love for my partner, Laura Virella, and myself. Far from being just another job or hobby, for the past three years our work with POM has born fruit in one rewarding experience after another. We opera singers are used to feeling a bit, well, replaceable – there are just so many of us (especially sopranos!) and we are often the last element to be integrated into a production. POM has made us feel just the opposite: it has given us and many of our collaborators the opportunity to be involved in every creative aspect of building an opera from the ground up, so that at the end, we can look at the performance experience in a new and exciting light. This was one of my goals when we founded this company: to form, more or less, an opera co-operative, in which everyone involved – orchestra members, crew, designers, directors, singers and audience – can feel they share part of the ownership. This makes our triumphs, however big or small, all the more jubilant.

Opera is all about transformation: In our first season, 2006, we took Laura’s crazy idea and the help of a bunch of creative friends, and transformed them into two productions of astonishingly high artistic quality. Last year, we took a school gym in Spanish Harlem, three ladders, and an audience made up of people of all ethnic and cultural backgrounds, and transformed them into a spine-tingling experience of Die Zauberflöte. And that brings me to this season: for two magical performances of The Rape of Lucretia at The Players, we were able to share with packed audiences our best collaborative effort yet, with invaluable help from a venerable artistic institution. We received more support from colleagues in all elements of the production than ever before: stage management and direction, lighting, audiovisual recording, photography, publicity... Just yesterday we received an e-mail from our lighting designer, Tyler Learned, a professional who worked day and night for most of a week to make the production possible, with the following kind words:

“Personally, for me it was a triumph. I don't think I've ever done so much with so little. I still think of it... Thank you again for an opportunity for such an extraordinary experience.”

So much with so little... That’s precisely what we’ve always prided ourselves on doing, but perhaps the “so little” part is misleading. Because, although we’ve always functioned on a very low budget, we’ve been given so much in other ways: so much help, so much support, so much encouragement from our friends, family and the larger community. We may face an uphill battle, but we have always known we have many wonderful people cheering us on.