Unseal Unseam is an experimental, multimedia opera that re-frames the fable of Bluebeard’s Castle from the perspective of his abused wife, Judith. This unique opera combines traditional operatic singing with extended vocal techniques accompanied by modular synth, electronic piano, and textures of harsh electronic noise made through amplified props onstage.

The entirely-female creative team consists of Shannon Knox (director), Micaela Tobin (composer/performer), and Sharon Chohi Kim (composer/performer). In our work together as a new opera company, we aim to reclaim and reshape female narratives found in traditional opera through a combination of experimental electronic music and performance art. We believe that far too often within the culture of traditional opera, the female narrative, composed and directed predominately by men, exists only as a catalyst for the trajectory of the male character. With a viscerally raw aesthetic, we unapologetically confront this misogynistic reality, and in doing so, reclaim the objectified female body.

Our most recent performance in October of 2017 at Highways Performance Space in Santa Monica, CA was a huge success! We would like to thank our wonderful team, with special thanks to the Highways Artistic Directors, Leo Garcia and Patrick Kennelly.

Thank you also to Alicia Byer of New Classic LA for this wonderful review!

Lastly, a tremendous thank you to our our generous donors, whose help provided the artist compensations, costumes and scenic purchases:

AQW, Casey Thomas Anderson, Ron Athey, Timur Bekbosunov, Alexander Gedeon, David Gorgani, Veth J., Doug Kaplan, Clare Kelly, Naila Lapus, Todd Lerew, Ljd, Elsa Lund, Paul Outlaw, Anna Petrisko, MightyMur, John P. Tobin, Liza Tungendsam, James Waterman, and the several anonymous donors who wished to remain unnamed.

In 2016, an earlier version of Unseal Unseam was showcased at the Edinburgh Festival Fringe to five-star reviews.

Trailer from our most recent performance at Highways Performance Space in Santa Monica, CA in October, 2017.

Footage shot by Dalton Blanco, edited by Shannon Knox.

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