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"People do die in this opera, and they die in very real in your face ways," Ellis said. "The purpose of that is for you to come to enjoy a character and instantly have them taken out of your life, just how in reality, literally one day, I would be talking to a buddy and next thing I know he's shot in the face dead. How do you react to that? How do you move on from that? How do you deal with that?" Ellis left the workshops at times after hearing the words of deceased friends. "Being that vulnerable and that raw to the world is a very scary feeling," he said. One of his most painful memories is that of a teenage boy with a big smile named Wissam who sold bootleg DVDs to the troops. The boy used gestures to communicate and befriended Ellis, writing his name on his hand when the Marine could not pronounce it correctly. Suddenly Wissam stopped visiting. Ellis learned the boy had been killed by insurgents who accused him of spying for the Americans. After that, Ellis said he never opened his heart in battle; the enemy was the enemy. He grew to hate Iraqis and put the boy out of his mind until he wrote his story for New York playwright Heather Raffo. Sharing his memories on paper helped him unleash his sorrow, and forced him to confront his prejudice against people of Middle Eastern descent, he said. He was reluctant to work with Raffo, who has family in Iraq, but the two became friends while working together. He said her viewpoint balanced out the libretto. In total there are nine characters
-- three Iraqis and six Americans. Composer Tobin Stokes blended traditional Iraqi music into the score as a way to unite the pain both sides endured. The company tested out "Fallujah" in May on a select audience that included former Vancouver Mayor Sam Sullivan. Sullivan said it was the first time he shed a tear over the war. "It was very moving," he said. "I'm used to seeing operas in other languages with contexts that don't relate to me personally, but to see an opera about current events
-- and especially about that horrible experience of Fallujah -- portrayed in opera in English, gave me a whole new appreciation of opera itself and the powerful emotions it can bring to a story." Canadian Army Cpl. Tim Laidler, who runs the Veterans Transition Program at the University of British Columbia, said "it captures the complexity of what it means to be a soldier" including their harsh banter, off-color jokes and the often morally questionable situations they have been forced into by war. "I felt a lot of emotion, a lot of compassion for the protagonist in it, because I've been in those situations myself," he said. City Opera Vancouver's artistic director Charles Barber said it was crucial the opera not tone down the real-life story, no matter how graphic it may be. In coaching the actors, he told them to match their voices to the horror of the words. In one scene, they bark in disgust, "burnt like charcoal, dragged through the street." It's important people do not forget, he said, because though the war is officially over, those who served are dying from suicides while the ongoing unrest continues to take Iraqi lives. "For all those reasons, this work cannot be a cartoon," he said. "It has
to be truthful, eloquent, passionate, and it has to be compassionate. If it
is, if we get that right, this new chamber opera, ' Fallujah,' is going to be a stunning experience for anyone who sees it." ___ Online:
[Associated
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