Though it is illegal for pranksters to shout about non-existent fires in a theatre, shrieking after an encounter with an under-seat gum wad is permissible. Shout about what's on stage instead with today's deal: for $58, you get one ticket to the world premiere production of Lillian Alling at Vancouver Opera (a $110 value, including a facilities fee). Choose from the following four dates:
- Saturday, October 16, at 7:30 p.m.
- Tuesday, October 19, at 7:30 p.m.
- Thursday, October 21, at 7:30 p.m.
- Saturday, October 23, at 7:30 p.m.
Your seat will be in section C of the Queen Elizabeth Theatre, which includes seats in the orchestra, mezzanine, and balcony; seats are assigned on a first-come first-serve basis, so redeem early to get the best spot. You will be charged a $2 handling fee (not covered by the Groupon) when you reserve your ticket.
A collaboration between composer John Estacio and librettist John Murrell, Lillian Alling depicts the story of a young woman who arrives in New York City from Russia in 1927 as an empty-handed immigrant. Steeped in mystery and haunted by a dark past, Lillian treks across North America in search of a man named Jozéf. Her expansive journey leads her to an eclectic assortment of characters and experiences, from a Norwegian farming community in North Dakota to a stint in Oakalla Prison Camp near Vancouver and into the heart of a BC "telegraph trail" lineman named Scotty. Based on legend and truth, this emotional tale of freedom, destiny, and courage is infused with the Canadian spirit and punctuated by Quebecoise soprano Frédérique Vézina's moving performance.
Vancouver Opera, the second largest company in Canada, maintains high standards for its mainstage productions, education programs, and community programs. Founded in 1958 and located in the centre of the city, Vancouver Opera has been a cultural institution in Vancouver for more than 50 years.
- Lillian is an approachable story within a story, a saga of obsession, revenge, and heroics: quite the stuff of traditional opera. Even in the black-and-white version heard in the workshop, Estacio has made powerful, passionate music, and he's not afraid of a good tune when one seems to be required. The production, albeit at a painfully early stage, moves with dispatch, and, while nobody wants to jinx the endeavour with premature praise, by the end of the afternoon cast, company, and listeners all knew we were on to something special. – David Gordon Duke, Sun