PRIOR INSTALLMENTS

Put good shoes on my feet and I'm not only moving but I'm traveling to unexpected places. I'm in the middle of plotting an opera and people keep asking how did you get this project started much less get this far?
Here begins a travelogue pastiche of the work-in-progress opera
Gertrude Stein Invents A Jump Early On. This installment shows the bootstraps—how did this poet, composer, and artistic director get involved in this project?
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Whereas the first installment of my opera story moved around the map of the United States, Europe and North Africa, this part of the story of Gertrude Stein Invents A Jump Early On is more a head trip. People keep asking me, "how does one get from poetry to opera libretto?" So without getting into the blood and guts of my quirky creative birthing process, I will provide the basic ingredients that spur or spurred me on within the philosophic framework Gertrude Stein set out for her writing, including her considerable theater work which numbers 80 plays and libretti.
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Webster's New World and American Heritage dictionaries define the word collaboration as either two or more artists or scientists working together on a joint project or a person or people cooperating with the enemy. To fully appreciate The Steiny Road to Operadom, one must keep in view both of these definitions. As I hinted in my last essay, collaboration can be a difficult kind of relationship. To offer perspective about my collaboration with composer  William Barfield and artistic director Nancy Rhodes, I will also talk about the collaboration between Gertrude Stein and Virgil Thomson.
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In the last installment of The Steiny Road, my parting words included the admonition, don't go into the woods alone. In this essay, my travel advisory is about building community and finding out whose woods these are that you wish to penetrate.
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In the first Steiny Road column, I discussed how the work-in-progress opera Gertrude Stein Invents A Jump Early On got started, but merely ticking off the sequence of events leading to the commissioning of the project does not tell the whole story. What I will attempt to ignite in this telling is the elusive spark that erupts when people believe in you enough to stop what they are doing and turn their attention to your project. So this column continues the thread about the importance of community that I presented in the last essay while weaving in the performance aspect.

The Mother of Us All, the second and final opera collaboration between Gertrude Stein and Virgil Thomson, looms large in the creation of the work-in-progress opera Gertrude Stein Invents A Jump Early On. In this essay, I invoke a wider lens and name the spirit guides (ghosts) who also form part of the community that supports the development of my opera collaboration with composer William Banfield and Encompass New Opera Theatre artistic director Nancy Rhodes.

Critics. In this Steiny Road essay, I will provide background on the subject of critics and artistic criticism by outlining the significance of critics in relation to Gertrude Stein and her writing as well as the significance of critics to the work-in-progress opera Gertrude Stein Invents A Jump Early On. Additionally, I will define what I expect an opera review to cover.

Critical to the process of developing an opera, such as Gertrude Stein Invents A Jump Early On, is the workshop. I begin with the word critical because it suggests critic, a player who is integral to the longevity of any artistic work. Even if the critic is not favorably disposed, a published review by a critic demonstrates that the work merits consideration by the public. Since one cannot control what critics will think, opera collaborators need to test their work and hear feedback before going public.

How does a poet on the Steiny Road to Operadom educate herself
to develop a successful opera?

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