Q & A With Librettist Christina Baldwin
You are the definition of a triple threat. You’re a singing actor, writer, and director! Wowza. Have they always naturally collided or did you begin your journey with a particular focus?
I love storytelling in all of its forms. Opera was a particular focus in college and grad school because it combined all of the things I love--music, theater, dance, visual art. I never lost sight of the storytelling at the core, though, and pursued theater at the same time. I feel that my particular skill is where all of the things meet--the unknown of how things work together. I love to go toward the unknown, and love to surround myself with great collaborators who challenge me, expanding my experience and comfort zone.
What was it like writing an opera with a time limit of 15 minutes? How did you begin?
For this project, the parameters of how AOT would be producing it and the intended audience was the first step. When chatting with Kelly, I was inspired by students and their resilience during the pandemic. I wanted a story that could tap into the timelessness of myths and folk tales because of the 15 minute time limit. There are many stories from many cultures of challenges that people have faced and overcame. We are in a challenging moment in time and I learn the most from the young people who are adapting, persevering and challenging the status quo.
Which character do you most relate to in IMR?
Hint: I say “dude” too much.
At what time of day do you feel most creative?
Morning is when the most creative problem solving happens, but night is when I get it all down on paper (or googledocs). :-)
What have you learned about yourself as an artist during the pandemic?
Permission is not needed, empathy is.
When were you first introduced to opera?
I saw “Hansel & Gretel” when I was 5 and loved the witch!
How do you think virtual productions will/are impact the future of opera?
Virtual productions have already impacted the future of opera and of all live performances. The accessibility alone is necessary, not to mention the exciting collaborations that no longer have physical or regional limitations. We can’t go back, there is only forward. I look forward to the return of live performance because we need it to help us unlock all the possibilities of virtual programming. One needs the other, and virtual performance will only truly become all it can be when we have the balance of live performance. Right now, virtual productions are judged on what it isn’t, not what it is and what it can do as a compliment and partner to live productions. There is so much more to learn and explore.
It’s been a year of mixed emotions and ups and downs, but what is something that has kept you motivated?
My daughters. Their futures motivate me.
Is there a production you saw this past year that really inspired you to keep creating?
TikTok--seriously what a great study in miniature, character and impact.
What do you want to see change within the opera culture?
Perfectionism. We have to be unafraid to fail in order to innovate. It doesn’t mean one doesn’t have high standards--but we need to discuss who gets to set the standard.
What/who keeps you grounded?
My family.
TV show you most recently binged?
Schitt’s Creek, Parks & Rec, The Good Place.
Book currently on your nightstand?
I tend to have a few going at one time: ‘Men Explain Things To Me’ by Rebecca Solnit; ‘Wow, No Thank You’ by Samantha Irby; ‘They Can’t Kill Us Until They Kill Us’ by Hanif Abdurraqib
Favorite junk food?
Doritos (original nacho cheese, please)