OperaFest XVII presents an exploration of villainy in two parts. Part I: The Journey to Villain Directed by Angela Torres-Kutkuhn The journey of the villain is explored through three phases: Environment, Circumstance, and Acceptance. The performance is built around operatic arias and scenes that anchor the devised elements of the show. I. Environment How does a villain’s environment influence their development? “Malo” from Turn of the Screw (Britten) “Song of the Father” from Distant Flight of Birds (Golan/Payne-O’Brien) “Little Gossip Song” from Distant Flight of Birds “Song of the Feather” from Distant Flight of Birds II. Circumstance What events lead someone to turn toward villainy? “I Have Dreamt” from Wuthering Heights (Herrmann) Act 1, Scene 2 from The Consul (Menotti) III. Acceptance The villain comes to terms with their choices and embraces their darker nature. “What Keeps a Man Alive” from The Threepenny Opera (Brecht/Weill) “Miles” from Turn of the Screw (Britten) Witches scenes from Dido and Aeneas (Purcell) and Hansel and Gretel (Humperdinck) Finale: “Night Waltz 1” from A Little Night Music (Sondheim) Part II: The Clever Artifice of Harriet and Margaret Music Director/Pianist: Dana Brown Stage Director: Mark Crayton Based on Alice Gerstenberg’s 1916 play Overtones, The Clever Artifice of Harriet and Margaret, composed by Leanna Kirchoff, presents a psychological cat-and-mouse game between Harriet and Margaret. Each woman, in pursuit of her own agenda, is shadowed by her inner self—Hetty and Maggie—who offer unfiltered commentary and insight into their true thoughts.