Oksana G., May 24-30, 2017 at the Imperial Oil Opera Theatre

  • Natalya Gennadi and Keith Klassen in Oksana G. 2017
  • Oksana Dress Rehearsal Photo 6 by Dahlia Katz

Lieutenant Governor of Ontario celebrates Oksana G. World Premiere

Interview with Aaron Gervais
by Paul Steenhuisen
on Itunes

Music by Aaron Gervais | Libretto by Colleen Murphy

Natalya Gennadi– Oksana
Keith Klassen – Konstantin
Adam Fisher – Father Alexander
Krisztina Szabó – Sofiya (Oksana’s Mother)
Kim Barber–Aza
Aaron Sheppard–Pavlo
Jacqueline Wooley–Nataliya
Alex Hajek–Yuri
Andrea Ludwig–Lyuba
Maria Soulis–Clara
Neil Craighead–Dima
Cairan Ryan–Immigration Officer
Erica Iris–Auctioneer

A Tapestry Opera Production

May 24, 2017 – 8pm
May 26, 2017 – 8pm
May 28, 2017 – 3pm
May 30, 2017 – 8pm

Imperial Oil Opera Theatre, 227 Front St. E
(in collaboration with the Canadian Opera Company)

Oksana G. is the story of Oksana, a young Ukrainian woman lured into the world of sex trafficking by a recruiter who unexpectedly falls in love with her. Oksana escapes to a refugee shelter in Brindisi, Italy, where she finds herself entangled in a battle to regain her own strength. With a fierce heroine battling overwhelming odds, Oksana G. challenges operatic conventions and offers an uncompromising portrayal of human trafficking. Led by acclaimed director Tom Diamond (Iron Road, The Shadow) and rising-star conductor Jordan de Souza (M’dea Undone, Rocking Horse Winner), this opera is staged in the Imperial Oil Opera Theatre. With the power of a full orchestra and chorus, Oksana G. is Tapestry Opera’s most significant endeavor in over 15 years.

Please note that Oksana G contains adult themes of sexual violence, coercion, physical violence, and use of profanity.


Director: Tom Diamond
Music Director: Jordan de Souza
Assistant Director: Russell Wurstenberg
Costume/Set Designer: Teresa Przybylski
Head of Wardrobe: Sylvia Defend
Assistant Head of Wardrobe: Sandra Mandich
Wardrobe Assistant: Judie Plaza
Wardrobe Assistant: Acadia Walsh
Special Makeup Effects: Samantha McCue
Lighting Designer: Jason Hand
Production Manager: Aidan Cosgrave
Stage Manager: Isolde Pleasants-Faulkner
Assistant Stage Manager: Melania Radelicki
Apprentice Stage Manager: Anna Spencer
Apprentice Stage Manager: Jordan Guetter
Rehearsal Pianist: Gregory Oh
Props: David Hoekstra
Fight Director: James Binkley
Language Coaches: Katherine SemsecenTaras Chmil, and Alex Beley
Surtitlest™: Gunta Dreifelds
Surtitle Operator: Kimberly Ramon

Danlie Rae Acebuque, Marlo Alcock, Patrick Bowman, Paul Buchanan,
Gwenna Fairchild-Taylor, Gabrielle French, Rebecca Gray, Alex Heatherington,
Thomas Krasey, Victoria Marshall, Alex Jacob Mathews, Michael McLean,
Natalie Mitchell, Yujene Oh, Lucas Penner, Susan Sherman, Meghan Symon,
Hillary Tufford, and David Walsh

Jason Pilgrim, Doug Rogers, Paul Ciantar

Sydney Rasmussen, Raif Morton, Jesse Kline

Violin 1: Boris Kupesic
Violin 2: Clara Lee
Viola: Brenna Hardy-Kavanaugh
Cello: Bryan Holt
Double Bass: Daniel Lalonde
Flute: Amelia Lyon
Bb Clarinet: Omar Ho
Oboe: Lief Mosbaugh
Bassoon: Bianca Chambul
Horn: Will Callaghan
Bass Trombone: Cathy Stone
Percussion: Timothy Francom
Harp: Angela Schwarzkopf
Electric Guitar: Michael Kolk
Piano: Gregory Oh

Natalya Gennadi, Oksana G. Photo by melissalerouxphotography.com
Keith Klassen, Konstantin
Krisztina Szabó – Sofiya
Adam Fisher – Father Alexander

Artistic Statement: “Opera is about emotional communication; nothing makes an audience relate with a character the way opera does. At the same time, sex trafficking is so prevalent and so terrible that it tends to be dehumanized. Therefore, the story of sex trafficking needs to be told in a way that makes us intuitively realize how real it is. We all know the facts, but we need to feel the plight of a normal girl who gets trapped in this situation; feel that it could have just as easily been us, or our sisters, or our daughters. There are great movies and documentaries about sex trafficking, and afterwards we think, ‘Isn’t that terrible?’ then we forget about it and go on with our lives. Knowing intellectually is an important first step but it isn’t enough. After the Oksana G. opera, we think, ‘That could have been me!’. It is that kind of realization that can galvanize an individual to step up and make a difference in the lives of others. That’s why this story had to be told as an opera.”

– Aaron Gervais & Colleen Murphy

Oksana Background

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