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Miss Havisham鈥檚 Fire (2001)

An Opera in Two Acts

Music by Dominick Argente

Words by John Olon-Scrymgeour after the novel Great Expectations by Charles Dickens

These are the first performances of the revised version of Miss Hauisham’s Fire.

The original version was commissioned by the New York City Opera and premiered on 22 March 1979.

The opera is given by arrangement with Boosey and Hawkes, Inc., publisher and copyright owner.

York City Opera and premiered on 22 March 1979.

Dates of Performance
June 3, 6, 9, 12, 15, 21

 

2001 Season
La boh猫me聽 聽 聽The Grand Duchess of Gerolstein

Miss Havisham鈥檚 Fire聽 聽 聽Hippolytus and Aricia

 

 

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Cast

Keith Phares
Philip Pirrip

 

Erie Mills
Aurelia Havisham

 

James Maddalena
The Coroner

 

Kristina Martin*
Sarah Pocket

 

Megan Besley*
Georgiana Pocket

 

Marc铆a Porter
Camilla Pocket

 

Michael Wade Lee*
Raymond Pocket

 

Michael Devlin
Jaggers

Carolyn Betty
Nanny Broome

 

Arden Kaywin*
First Maid

 

Amanda Nisenson*
Second Maid

 

Amy Orsulak*
Nanny when young

 

Scott Toperzer
Orlick

 

Patricia Risley
Estella Drummle

 

Sarah Tannehill*
Young Estella

 

Ryan Kinsella*
Pumblechook

Jacob Ashworth*
Young Pip

 

William Ferguson*
Bentley Drummle

 

Marc铆a Porter
Lady at the Ball

 

Dara Rahming*
Lady at the Ball

 

Megan Besley*
Lady at the Ball

 

Michael Wade Lee*
Man at the Ball

 

Alexander A. Tall*
Man at the Ball

 

Harold Wilson*
Man at the Ball

*Company Debut

Creative Team

Beatrice Jona Affron*
Conductor

 

James Robinson
Stage Director

 

Allen Moyer
Set Designer

 

Bruno Schwengl*
Costume Designer

 

Christopher Akerlind
Lighting Designer

Victoria Morgan
Choreographer

 

Tom Watson
Wig & Makeup Designer

 

Cary John Franklin
Chorus Master

 

Kathryn LaBouff
English Diction Specialist

 

Tim Steele*
Repetiteur

Brian Clay Luedloff
Assistant Stage Director

 

Brett Finley*
Stage Manager

 

Carrie Ann Casey
Assistant Stage Manager

 

Nicholas M. Busken*
Intern Assistant Stage Manager

*Company Debut

Synopsis

1860 路 In the ruined garden of Satis House, Pip is waiting for the elderly recluse, Miss Aurelia Havisham. She arrives to tell him that her adopted daughter, Estella, has been abandoned by her husband, Bentley Drummle. Miss Havisham begs Pip to help convince Estella to return home to Satis House. The old woman apologizes for all the suffering her cruelty has caused and returns to the house. Screams are heard. A fire engulfs Miss Havisham in her bedroom.

1860 路 At an inquest into Miss Havisham’s death in the library of Satis House, a coroner and Miss Havisham’s solicitor, Jaggers, ask the old woman’s assembled relatives why she lived as an eccentric recluse for so many years. Nanny Broome, Miss Havisham’s long-time companion, is the first to testify.

1810 路 Assisted by her maids and Nanny, young Miss Havisham is seen preparing for her wedding day. The gatekeeper of Satis House, Orlick, brings in a letter from her fianc茅. After reading the letter, Miss Havisham is overwhelmed with grief and shock: the bridegroom will not be arriving.

1860 路 From the witness chair, Nanny denounces Estella and Miss Havisham’s relatives as thieves and vultures who are only out for the old lady’s money. Estella testifies that she was absent the night of the fire but speaks warmly of her adoptive mother. The relatives mock her. Jaggers silences them, telling each one that he knows of their personal shortcomings and secret financial obligations. The relatives fall silent. Pip, the last to see Miss Havisham alive, recounts his first meeting with her at Satis House.

1846 路 The poor and uneducated young Pip is received for the first time at Satis House by the beautiful young Estella. Miss Havisham says he is to be a playmate for her adopted daughter and commands him to sing a song. The old lady, enchanted by Pip’s singing, urges the boy to love her beautiful daughter. At the same time, she instructs Estella to break his heart.

1860 路 Confusion and protest erupt at the inquest, as the Coroner calls for an immediate recess.

1848 路 Two years after his first visit to Satis House, Pip and Estella are celebrating the old woman’s birthday when Jaggers announces the arrival of the entire Pocket family with their traditional annual birthday greetings. Miss Havisham leads them to believe that they will be remembered in her will, but afterwards tells Pip that Estella will be the only heir to her fortune. She asks Pip if he still finds Estella beautiful. He does.

1860 路 At the inquest, Jaggers confirms that the relatives will indeed receive no inheritance; Estella is told that she will inherit everything. The Coroner’s curiosity is aroused: why, after so prolonged an effort to encourage Pip to fall in love with Estella, did she marry another man? Raymond Pocket takes the stand.

1859 路 The now mature and educated Pip escorts Estella to the Assembly Ball. Her interest is soon piqued by another man, Bentley Drummle. A thunderstorm puts an abrupt end to the ball, and Drummle offers to escort Estella home. Pip is left alone.

1860 路 The Coroner has written his verdict: since everyone has been a victim of the old lady’s sick fancy, no one is responsible for her death. The witnesses are dismissed. Pip and Estella remain. The bell rings at the gate and the young Pip and the young Estella appear as they were on the day of their first meeting at Satis House. Pip leaves Estella alone in her new home.

Epilogue 路 Miss Havisham’s wedding night. As on so many nights before, Miss Havisham, alone, reenacts the day her bridegroom abandoned her. After imaginary conversations, a maid brings the old woman her breakfast. Estella is summoned, and Miss Havisham tells the beautiful girl all about men.

This production is generously underwritten by Rudolph W. Driscoll and OTSL’s Driscoll Endowment for Contemporary Opera.

Major support has also been provided by The Andrew W. Mellon Foundation, the National Endowment for the Arts, and the Whitaker Foundation.

The services of the Saint Louis Symphony Orchestra are underwritten by a generous gift from the Dr. Richard D. Yoder Charitable Trust.

The costumes for this production were underwritten by a gift from the estate of Marjorie Wyman.

Production support was also provided by the Aaron Copland Fund for Music and Joan Richman.

OPERA America’s program, NEXT STAGE, supported this production with a special research grant.

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