(This page updated 14 November 2017)
Inspired by Marcel Ayme’s Les Sabines, The Ubiquitous Woman, is an opera for four singers, two instruments and treated sound by Di Sherlock and Martin Ward. The work takes a satirical look at the world of dating from the female perspective and the fear of being left behind by both love and technology.
Every year apps, platforms, and gadgets become more deeply entangled in our relationships. As the options for finding love and lust proliferate, mature women feel compelled to try to stay young or risk missing out. Has ‘girl power’ become a function of the time honoured oversexed male model?
We present a modern Cautionary Tale which offers three different solutions:
Natalie, able to clone herself at will, opts for security – a temporary clone allows her to indulge while keeping home life safe – when she’s done she reincorporates. No commitment, no risk.
Rogue Clone Tara commits to old-style passion as a gesture of freedom, but with Jasper – Tinder playboy and Conceptual Artist – she nosedives into codependence and misery.
Pandora – a younger Clone – opts to control love. Multiple online clones are avatars, bringing the thrill of an addictive VR high and a parallel world in which to re-negotiate relationships.
Fast, furious and funny, the piece asks what we (women) really want. If we could endlessly re-make ourselves could we achieve satisfaction and at what cost?
The Ubiquitous Woman is written and directed by Di Sherlock, with music by Martin Ward. Designer Andie Scott is currently working with the team and our digital creative team member will be joining us soon. You can also read about the progress of The Ubiquitous Woman in a series of updates under the News menu tab.
If you would like to get involved with The Ubiquitous Woman, either as a sponsor or with a different kind of support, please get in touch with us at newnotesandnoises [at] gmail [dot] com.