“Bridgerton, the musical” meets Amadeus” meets “Hedwig and the Angry Inch”

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With its cutting-edge score, Chasing Icarus fuses electronic music (in the style of Imogen Heap / Bjork/Sigur Ros…) and Baroque sounds, to explore the themes gender identity and queer trauma, as well as the price of love and fame.

THE STORY

Chasing Icarus is set in 1700 Rome, during a period in History where the Vatican forbade women to sing publicly, encouraging the castration of little boys to preserve their angelic voices and produce super singers. Castrati. Considered to be a third gender, neither women nor men, Nero is one such.

Can he navigate the intrigue-riddled backstage of the Roman opera houses and claim the highest artistic laurels: the leading role in the new opera“Icarus”?

With a powerful ally, and lover, in famous writer Pietro Metastasio, it seems Nero might do just that… When a new challenger appears to interfere with his schemes of grandeur. Except this new castrato is not a castrato at all, but rather Nero’s best friend from childhood: Violante, a trans/non-binary individual born in the new era, who is disguising themselves as a castrato to escape the strictures society places on them.

Will pure childhood love win? Or will the thirst for applause and validation consume them?

CHECK THE TRACKS:

The castrato Nero dreams of flying above his station…

Violante (they/she) dresses up as a castrato, experiencing gender euphoria for the first time…