Guerilla Opera, Boston
by Hannah Lash
directed by Andrew Eggert
clothes Neil Fortin, lights Dan Chapman
world premiere
  1. audience configuration
  2. Beowulf and mother
  3. Nurse and mother
  4. Beowulf and mother
  5. Beowulf and a flashback
  6. Audience arrival
  7. Before the show started
....They worked in just a few square feet of floor space, surrounded on three sides by audience members on risers: a setting conceived by director Andrew Eggert and realized by designer Julia Noulin-Mérat, meant to suggest an operating theater. Props were few and basic, the stark tableau activated and enhanced by Daniel B. Chapman’s lighting.
Behind a sheer curtain, clarinetist Amy Advocat, saxophonist Philipp A. Stäudlin, percussionist Mike Williams, and violinist Lilit Hartunian played with passion and assurance. That Advocat and Stäudlin served in one scene as dramatic extras, while Hartunian and Williams handled Lash’s most tender music, underlined this fiesty company’s resourcefulness and pluck.
In Hannah Lash’s ‘Beowulf,’ an unconventional monster to grapple
By Steve Smith 
The Boston Globe  
May 21, 2016
In this weekend’s production, the audience was incorporated into the set, with two rows of seating on elevated platforms surrounding the action, reminiscent of the historic Ether Domeat Mass General...
the claustrophobic setting that provides much of the opera’s visual tension, Guerilla Opera and Ball in Square Films will live-stream the 8pm performance on Saturday, May 28....
Not Medieval, Not Medical, But Heroic
by Laura Stanfield Prichard
The Boston Musical Intelligencer
May 22, 2016