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L’Isola Disabitata

Thirteen Strings Chamber Orchestra

Dominion Chalmers United Church, Ottawa

May 2016

A scene from Alaina's production of L’Isola Disabitata
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Production details

Description

In a post-apocalyptic world, two lovers have been separated by the brutal realities of an ungoverned world. Costanza and her little sister have sought refuge in a church and made it their make-shift home. Over time, Costanza believes that her lover has abandoned searching for her and she is making preparations to end her suffering. In reality Gernando was fighting his way back to their agreed meeting place, and happily finds the church which seems lived in. In a series of missed connections, all is found and forgiven and new love is found!

Creative Team

  • Alaina Viau, Director & Production Designer
  • Kevin Mallon, Music Director
  • Maureen Russell, Costume Designer
  • Andrew Van Beek, Photographer

Performers

  • Valérie Bélanger, Silvia
  • Maude Brunett, Costanza
  • Bradley Christensen, Enrico
  • Stephen Bell, Gernando

Production Videos & Photos

  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata
  • A scene from Alaina's production of L’Isola Disabitata

Press & Reviews

  • “Director Alaina Viau gave the piece a Mad Max post-apocalyptic feel, with lots of leather vests, leggings, raggedy laundry and random tarps. Gernando and Enrico enter Rambo-style, waving pistols around and looking ready to kick some pirate butt. Given the age of the cast and the confines of the space, it worked well...”

    Ottawa Citizen

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