The labyrinthine thoughts.
In December 2023, the curtain fell on my opera The Sea, a psychological work with a contemporary edge that left me both cathartic and reflective. Out of the five operas I have written, The Sea stood out for its modern narrative focus and relatively straightforward musical language. Yet as soon as its final note echoed, I found myself diving headfirst into the next chapter: revisiting Labyrinth. Now, with a new season ahead, Labyrinth emerges once more, transformed and invigorated for a grander vision.
When Labyrinth premiered last year, it was performed in The Store at Abbotsford Convent, a gallery space that mirrored the dark, twisting passageways of the labyrinth under King Minos's palace. For this new season, however, we’re expanding into two larger venues: the North Laundries and the Industrial School. These warehouse-like spaces bring a monumental scale to the production, shifting its very essence. The labyrinth now feels even more sprawling and immersive, with audiences winding through vast corridors and cavernous rooms, embodying the disorienting, shadowy paths of the myth.
This shift in venue has inspired notable updates to the production. While much of the original creative team remains intact, we’ve brought in director Cathy Hunt to guide the expanded vision and violist Alex Macdonald, who joins Danaë Killian on piano and Kim Tan on flute. Alex’s viola adds a richer, more textured sound to the ensemble, complementing the complex soundscapes of Labyrinth. The choreography has been adapted to the larger spaces, allowing our incredible dancer, Ashley Dougan, to stretch his work across the expanded stage. Meanwhile, the electronic components of the score have been refined and amplified, now resonating through a more sophisticated sound system that saturates the space with an enveloping aural experience. Daniel and I have also added several new scenes, extending the story and its emotional depth.
The original performance of Labyrinth was met with critical acclaim, celebrated for its bold storytelling and innovative use of space. However, we’ve embraced feedback to enrich the work further. The music, while still rooted in the motivic and harmonic themes of the original, has grown more sophisticated, offering deeper development and interplay. This season, Labyrinth feels not only grander but also more introspective—an exploration of shame, the secrets we keep, and the courage it takes to bring light into the shadows.
Reflecting on Labyrinth now, I see it as a pivotal piece in my body of work. While my earlier operas, Calypso and Orpheus, were rooted in mythology, and Vois grappled with contemporary themes of communication, Labyrinth bridges these worlds. It speaks to ancient rituals while resonating with modern audiences, inviting them into a narrative of vulnerability and transformation.
This season, we hope to draw both returning audiences and new faces. Whether you're experiencing Labyrinth for the first time or revisiting it in its new form, you can expect a more immersive, emotionally resonant performance that pushes the boundaries of contemporary opera.
While there are no immediate plans to take Labyrinth to other cities, our ultimate goal is to make the work adaptable for touring, so it can continue to reach new audiences. Myth and ritual will always inspire my creative practice, and I look forward to developing future projects that explore these enduring themes.
As we prepare to open the doors to the labyrinth once more, I feel a renewed excitement to share this work. With its expanded vision and enriched score, Labyrinth promises to be an unforgettable journey—one that illuminates the shadows and invites us all to confront the beasts within.
