Star Trek II:The Opera

I don’t know if anyone has ever investigated any potential link between opera and Star Trek fans but after watching the 1/25/2009 episode of Robot Chicken it might be a worthwhile effort (if you don’t already know what Robot Chicken is, it takes too long to explain – just go here). Leave it to the creative duo of former ToyFare Magazine editor Matthew Senreich and actor Seth Green (you know, Dr. Evil’s son in the Austin Powers films) to imagine Star Trek II: The Wrath Of Khan as an opera then bring it to life by way of stop-motion action figures. The end product is hilarious yet inspirational…

Star Trek II: The Opera
Star Trek II: The Opera

Frankly, I thought the show’s creators did an imaginative job at envisioning how the opera would unfold staged as a live action opera. Granted, they insert some obvious gags like carrying the “starships” and unrolling the backdrop but hey, I’ve seen far worse production values onstage at serious opera productions so for my money, this has some real potential.

Yes, Robot Chicken is a comedy show and yes, you’re watching stop-motion action figures but once you get past that there’s something here worth considering. Forget video game music concerts and warmed over Star Wars pops concerts as a way to bridge audiences; instead, a well written opera based on Star Trek II: The Wrath of Khan would not only end up a likely moneymaker (assuming licensing fees aren’t prohibitive) but it would certainly introduce an entirely new audience to opera.

All that’s left is casting.

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About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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