10 Days in a Madhouse

Is she insane — or just pretending?

In this gripping psychological opera based on true events from 1887, trailblazing reporter Nellie Bly fakes madness to expose the truth from inside New York’s notorious Blackwell’s Asylum. What she discovers is a world where women are silenced, sanity is questioned, and power decides who is believed.

Don’t miss this Canadian premiere from composer Rene Orth and librettist Hannah Moscovitch!

Bly’s journey exposing misogynistic pseudo-psychology and abuse at the asylum is vividly and heartbreakingly directed by Joanna Settle. Canadian conductor Sandra Horst leads the musical direction with a dynamic score that blends electronic and acoustic elements to create a sense of tension that mirrors the drama on stage. This world premiere production, awarded Best New Opera 2024 by the Music Critics Association of North America, promises a gripping and unforgettable experience.

Content warning: ableism, institutionalization, medical abuse, mental illness, sanism, sexual violence, misogyny, physical and emotional abuse, trauma, grief, psychological distress

Canadian soprano Mireille Asselin stars as Nellie. Deemed “a treasure” by the Toronto Star, Asselin brings her “power [and] dramatic chops” to the role of Nellie, navigating the violence of indifference and its swift corrosion of one’s grasp on reality. American mezzo-soprano Taylor-Alexis DuPont brings her “beautifully rich and spirited voice” (Washington Post) to the role of Lizzie, whom Nellie befriends on the inside, while American baritone Jorell Williams, with his “stunning vocals” (Seattle Times) performs as the asylum’s malevolent Dr. Josiah Blackwell. Canadian soprano Lauren Pearl completes the cast, reprising her role from the world premiere as Nurse/Matron, effectively “physically embod[ying] the institution’s sadism” (The Wall Street Journal). The main cast is supported by a chorus of 9 singers.