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Saleem is an Indian student living in Leeds with his parents. He meets Daz at a gay cruising spot, and they have a night of mutually enjoyable sex. Saleem is nonetheless ashamed of himself and what he has done the next day.
Runaways Luke and Ellen are caught breaking into an older, Victorian styled swimming facility one evening. As they only want a warm place to sleep, Martin, the person on patrol, lets them stay on the proviso that they don't break anything else. As Luke and Ellen go swimming in the pool, Luke spots Martin voyeuristically watching them. That small act begins an emotionally charged situation involving all three, but which was only supposed to involve Luke and Martin.
Frantic Assembly takes Shakespeare’s muscular and beautiful text, combines its own bruising physicality, and presents an Othello firmly rooted in a volatile 21st century. This is a world of broken glass and broken promises, of poisonous manipulation and explosive violence.
One of opera’s most beloved works receives its first new Met staging in 19 years—a daring vision by renowned English director Simon McBurney that The Wall Street Journal declared “the best production I’ve ever witnessed of Mozart’s opera.” Nathalie Stutzmann conducts the Met Orchestra, with the pit raised to make the musicians visible to the audience and allow interaction with the cast. In his Met-debut staging, McBurney lets loose a volley of theatrical flourishes, incorporating projections, sound effects, and acrobatics to match the spectacle and drama of Mozart’s fable. The brilliant cast includes soprano Erin Morley as Pamina, tenor Lawrence Brownlee as Tamino, baritone Thomas Oliemans in his Met debut as Papageno, soprano Kathryn Lewek as the Queen of the Night, and bass Stephen Milling as Sarastro.
