MURDERCASTLE

STAGE DIRECTOR BARBARA GEARYARTISTIC DIRECTOR & WRITER JARED MARGULIESMUSICAL DIRECTOR JOHN DECAMPOSASSISTANT MUSICAL DIRECTOR ZACK BRANCHVOCAL DIRECTOR ERICA PATOK ASET DESIGNER JOE MARTINSET DIRECTOR GARRETT BLADOWCOSTUME DIRECTOR NAOMI DAVIDOFFMOVEMENT DIRECTOR LILY KINDDR AMATURG KELLIE MCCLEARYPRODUCTION MANAGER ARAN KEATINGTECHNICAL PRODUCER DOM “FIXINS” CERQUETTISTAGE MANAGER HANNAH FOGLERASSISTANT STAGE MANAGER JACK SOSSMANGR APHIC DESIGNER SHANNON LIGHT HADLEYOn behalf of the entire Baltimore Rock Opera Society, I welcome you to MURDERCASTLE, theBROS’ fifth original full-length rock opera.Three years ago John deCampos asked me if I would collaborate on a rock opera about a serial killernamed H.H. Holmes, a man frequently cited as America’s first serial killer. The prospect of tryingto write a show about this horrible human being and the very real and terrible things he did, whiletrying convey it through the medium of a rock opera (a rock opera sans mythical beasts, lasers, anddick jokes*, no less), made envisioning what success would even look like unclear. And yet, aftermore than two years of tireless efforts and the usual quantities of blood, sweat and tears that go intoBROS productions, I hope I can speak for all of the BROS when I say we are proud to unleash thisdeath train of terror into the world. Although the subject matter present in MURDERCASTLE isnew and challenging for BROS, the story of MURDERCASTLE certainly conforms to our motto,“In Panton Redundo” (or, in everything, excess). The excesses of MURDERCASTLE come in manyforms. Our band, now dubbed the Onslaught Orchestra, has expanded to 14 members, while ourcast size has swelled to 40. Pared with our ever-expanding behind-the-scenes team of designers,builders, and all-round awesome gang of badass volunteers, MURDERCASTLE has pushed theboundaries of what we thought BROS was even capable of accomplishing only a year ago.On behalf of the BROS,Jared Margulies, Artistic Director & Writer of MURDERCASTLE*almostWhat you are about to see is the culmination of months of dreaming, singing, building, rehearsing,sweat, noise, frustration, joy, a few tears, and a little blood. To all of the BROS old and new; withyour commitment to 7000 years and your devotion to excess, you have put your shoulders to thisand kept it moving.I thank you for trusting me to steer MURDERCASTLE to this place.Enjoy the ride.Barbara Geary, Director

Chicago. 1893.A city in the midst of hyper-speed growth and change: in 1850, Chicago’s population was 30,000.By 1900, it was up to 1.7 million – the second largest city in the US.A city living the dream: Says a journalist in 1864, “Chicago… had learned to be forever contentwith the greatest warehouse, the tallest grain elevators, the biggest pork trade, the largest andhandsomest stores and fancy dwellings, the most overgrown of hotels, the most railroads, andmost street bridges of any city in the Union.”A city dangerous as hell: in the early 1890s, an average of two people were killed at rail crossings.Civilians often recovered severed heads. A dozen a day were roasted by fires, more taken byrampant disease, and still more murdered – nearly eight hundred in the first six months of 1892.This is the place our country chose to host the World’s Columbian Exposition, meant to show theworld where America was headed, towards a progressive, utopian way of life. The White City, themain site of the Exposition – and constructed specifically for it – was a gleaming, pristine exampleof life to come: a life fueled by Capitalist principals. Rationalism. Order. Evolution. Progress.Consider this clash between the beautiful dream of Fair and the visceral reality of its locale. Despiteleadership’s efforts to keep the White City free of mess and crime (pickpockets were bribed by thepolice to stay away, and vice indulgence, as well as foreign exhibits, were confined to the MidwayPlaisance), the cost of progress was hard to miss: the severed heads seen en route, the smell of theslaughterhouses a stone’s throw away.Amid all this, one man, residing in a pleasant nearby suburb, quietly, methodically went about hiswork, profiting from the influx of tourists. Fresh meat. Letting rooms to young women, cleaningbones to sell to doctors... an aberration? Or a product of a city that, according to philosopher MaxWeber, “resembles a human being with his skin removed”?

H.H. HOLMES DEREK VAUGHAN BROWNANNIE MILLBROOK MOIRA GOLDIE HOROWITZBENJAMIN PITEZEL CHRIS KRYSZTOFIAKMRS. PITEZEL SARAH FORD GORMANFRANK GEYER REX ANDERSONMADAME OPTICON KAY-MEGAN WASHINGTONFOREMAN/EMCEE JACK SOSSMANGEORGE BURTON MATTHEW CASELLAMR. COCKBURN SHIAH IRGANGLADENPROFESSOR HILCREST GAINES JOHNSTONMRS. HILCREST KENNY FRANKLYPOLICE OFFICER PHILIP DOCCOLOCABBIE RUSSELL IMWOLDGIRL #1 JESSICA RUTH BAKERGIRL #2 HANNAH FRIEDLAND*GIRL #3 AMANDA RIFE*EMILY RACHEL BOSS*PITEZEL BOY, YOUNG H.H. HOLMES RORIC COLETTAPITEZEL GIRL #1, HOTEL BOY #1, BULLY #2 HANNAH SATTLERPITEZEL GIRL #2, HOTEL BOY #2, BULLY #3 ELAINA BOWMANSTREET URCHIN, BULLY #1 GRIFFIN STANBROMIDWAY MAGICIAN LUCAS G. GERACEENSEMBLE BRITTANY GRANT* BLAIR HAGAN* COREY HENNESSEY* JUDY KURJAN* TOMMY MAYER TERRÈNCE POPE MICHAEL STEVENSON CATHY TYDINGS * ALSO PRINCIPAL DANCERWORKERS/ENSEMBLE MATT BEALE GREG BOWEN BRAD BUKOWSKY ADAM CHASE CHUCK GREEN JOHN MARRA JOE MARTIN DANIEL “MUGZY” REED MARK SINE

MUSICAL DIRECTOR JOHN DECAMPOSASSISTANT MUSICAL DIRECTOR ZACK BRANCHVOCAL DIRECTOR ERICA PATOKAASSISTANT VOCAL DIRECTOR BRITT OLSEN-ECKERDRUMS AJAY MENIUS JR.LEAD GUITAR CHRIS BAINESHARMONY GUITAR JONATHAN SMELTZERRHYTHM GUITAR JOHN DECAMPOSBASS GUITAR TYLER MERCHANTKEYS, GLOCKENSPIEL, BACKING VOCALS ERICA PATOKABACKING VOCALS, GLOCKENSPIEL LAUREN AYCOCK ANDERSONVIOLIN RUBY FULTONVIOLIN JULIA SARGENTMURDERCELLO ZACK BRANCHSAXOPHONE DANIEL BENBOWSAXOPHONE TERRÈNCE POPETROMBONE MARK MILLERADDITIONAL SOUNDSCAPES AND AUDIO EFFECTS BY STEPHEN FRANKALL HORN AND STRING ARRANGEMENTS BY ZACK BRANCH (EXCEPT “WHITE CITY” AND “MY LIFE’S WORK”) PHOTO BY MATT KELLEY

LEAD SET DESIGNER JOE MARTINSET DIRECTOR GARRETT BLADOWSET EXECUTIONERS GARRETT BLADOW ELI BREITBURG-SMITH ADAM CHASE ERIC CHURCH DAVE K ALEX FINE AMBYR HODGES TIMM HUHN JOE MARTIN WILL WEAVER ZACH YAROSZ RANDALL ZIMANSET DRESSER ANNA PLATISPROPS ACQUISITIONS MARK MILLERPROPS DEPARTMENT JON BROWNING WARREN CAPPS MATTHEW CASELLA LUCAS GERACE JENNY HASSELBUSCH MICHAEL RIDGAWAY ZACH YAROSZLEAD CRANKY DESIGNER ELI BREITBURG-SMITHLEAD CRANE DESIGNER JOHN ELLISCRANE BUILD TEAM JOHN ELLIS DAVE PARKER DAVE SCHEPERPUPPET DEPARTMENT CHUCK GREEN JOHN MARRA DOUG JOHNSON CHUCK GREEN’S DAD MILES PEKALA WILL GEE ANNA PLATIS LAUREN COUGHLIN DAVE K DANIEL “MUGZY” REED KEENAN WILLIAMSCOSTUME DIRECTOR NAOMI DAVIDOFFCOSTUME DESIGNERS NAOMI DAVIDOFF ELI FEIGHT SOFIA RADIN

COSTUME LIGHTING TECHNICIANS WILL GEE EVAN MERKEL MILES PEKALACOSTUME DEPARTMENT KT BIERMAN KARIANNA BARR JACOB DILLOW LUCAS AND SUZI GERACE SARAH GILCREST KRISTINA GREEN LINDSEY HENLEY SUSANNAH HORROM VIKI KEATING JACOB KENNA MELISSA KRAFCHIK SARAH MAGIDA HEATHER NASH MEREDITH DAY PAGE AMY SWACKHAMER SAMANTHA TRIONFO ELIZA VLASOVAPROJECTION AND MULTIMEDIA DESIGN RIKI K.MAKEUP MIRIAM CUMMONS DANIELLE ROBINETTE ELIZA VLASOVA SAMANTHA TRIONFOHAIR STYLING JULIE RUCKMANFACIAL HAIR TECHNICIAN DARIAN GAVINFIGHT CHOROGRAPHER SARAH FORD GORMANBLOOD SFX DIRECTOR JEN TYDINGSBLOOD SFX DEPARTMENT LIZ AVELLA JON BROWNING WARREN CAPPS DAVE K ERIN EWALD HEATHER NASH LAUREN NIKOLAUS DANIELLE ROBINETTE RANDALL ZIMANDIRECTOR OF AUDIO/FOH ENGINEER JEFF SCHABDACHMONITOR ENGINEER DEMITRI IEROMONHAOSAUDIO TECHNICIAN JOE GRIFFITHSOUND FX STEPHEN FRANKLIGHTING DESIGNER CHRIS ALLENSPOT OPERATOR MATTHEW REID

FRONT OF HOUSE DESIGNER REBECCA KARTENFRONT OF HOUSE PERFORMERS KATYA-KAZAKH: SEER, TELLER OF FORTUNES MARCELINE WHITE DAN DANIELS: CARNIVAL PITCHMAN MATTHEW CASELLA TIRZA ALDINI: CONTORTIONIST JESSIE DELAPLAINE LITTLE EGYPT NINA AMAYA THE MOST MARVELOUS GERACE LUCAS G. GERACE ACT RANDALL ZIMAN ACT DOUG JOHNSON BUSKERS MELODY EASTON YOU WILL NEVER GUESS WHAT’S GOING ON. THE SEAMINSTRELS GARRETT BLADOW GREG BOWEN DYLAN KOEHLER JARED MARGULIES JOE MARTINMANAGING DIRECTOR DYLAN KOEHLERMARKETING DIRECTOR SHANNON LIGHT HADLEYLEAD VOLUNTEER COORDINATOR KRIS HANRAHANVOLUNTEER LOGISTICS DEPARTMENT MICHAEL RIDGAWAY JAMES TURNERMIDWAY CRANKY & BACKDROP ILLUSTRATIONS ALEX FINEPOSTER DESIGN JOHN DECAMPOS ALEX FINE SHANNON LIGHT HADLEYMASTER OF MEAT MARK SINEBROS is an all-volunteer organization dedicated to producing the most epic, face-melting rock operas Baltimore has ever seen. Without the time and dedication givento us by our members and the support of the Baltimore community, we would notbe able to fulfill our mission. We express our utmost thanks to everyone inside andoutside of BROS who has supported us as we move forward into a glorious, rock-filled future. Your name shall ring out in the Hall of the Dragon King for all eternity.

In designing and building this set we worked with one unstated theme...transformative. We were given a charge to make a world that contained multiplelayers with meticulous attention to detail. At each design meeting the ideasfor this show kept getting bigger, more intricate, and extremely technical. Itbecame quickly apparent that this set was going to involve a level of effort notyet undertaken by BROS. This show required the skills of legitimate engineers(the kind that do math), experienced welders, and builders with that sparkle ofinsane in their eyes. The team stretched their skills to the maximum and beyond,learning to work with materials that were sometimes foreign to a BROS show.We grew as a team, and we learned that sometimes we could do the impossibleand sometimes we couldn’t. This world before you represents over 2,000volunteer hours of blood, sweat, and beers.Garrett Bladow, Set Director

BALTIMORE ANNEX THEATER • BALTIMORE EQUIPMENT COLLECTIVE • BALTIMOREFREECYLERS • BRICKHAUS • THE DOCCOLO FAMILY • CLAIRE DORSEY • ROBBIEELLIOT • MAIN STREET HATS • HEATHER KEATING • MOBTOWN MEAT SNACKS • TOMMCCONLOGUE • JASON C. GEORGE OF NICE PACKAGE RECORDING COMPANY • DAVIDPARKER OF NLIGHTN DESIGN • SECOND CHANCE • SHERWIN WILLIAMS • SINGLECARROT THEATER • ALESSANDRA DE LA TORRE (DEN MOTHER) • TREVOR WINTERBILLIE TAYLOR AND THE AUTOGRAPH PLAYHOUSE, INC FOR HERCONTINUOUS SUPPORTDONNA’S, CHARMINGTONS, AND ZEKES COFFEE FOR KEEPINGOUR ENGINES RUNNINGMAGFEST: THE MUSIC AND GAMING FESTIVAL FOR PROVIDINGPROJECTORS AND TECHNICAL SUPPORTKIM STANBRO & DAVE WISMER FOR THEIR EVERLASTING LOVE,DEDICATION, AND SUPPORT TO THIS ORGANIZATIONBETSY STEINER FOR DONATING THESE PROGRAMS AND HOSTINGOUR ANNUAL CAST PARTYTROIKA ENTERTAINMENT FOR DONATING THREE GARMENTRACKS FULL OF COSTUMES TO THE COSTUME DEPARTMENTTHE WINDUP SPACE FOR HOSTING THE 3RD ANNUAL BRODOWN –SORRY ABOUT THE ROOF

On March 30th we held the 3rd Annual BRODown at the Windup Space inBaltimore – a benefit fundraiser for MURDERCASTLE. The following orga-nizations donated goods to our raffle, which helped us raise the money thatmade this entire show possible. Thank you for supporting DIY Baltimore the-ater! We tip our hats and sip our tonics in your honor! AN INNOCENT LOOKING BOOKSTORE BALTIMORE CONCERT OPERA BITGEN GAMERFEST CHARM CITY ROLLER GIRLS DONNA’S EFFERVESCENT COLLECTIVE FLYING V THEATRE FOOD MARKET GERACE THE MAGICIAN GUNPOWDER BISON HARD ROCK CAFE THE KELMSCOTT BOOKSHOP LADY BREW OF BALTIMORE MAGFEST MUSIC AND GAMING FESTIVAL MOBTOWN BALLROOM PATTERSON PERK COFFEESHOPPE RED EMMA’S WALTER’S ART MUSEUM

LIBRETTO FOR THE BALTIMORE ROCK OPERA SOCIETY’S 2013 SPRING PRODUCTION MURDERCASTLE.When we first set out to score MURDERCASTLE, we wanted to write music that reflectedthemes of death, evil, betrayal and greed – no stretch for metalheads used to writing face-meltingmaterial. But transporting that music to Chicago in 1893 and suddenly we were challenged by theconcept of applying traditional metal sensibilities to the score of a story set in the Victorian Age. Intackling that challenge I feel, and I hope you will agree, that we have musically crafted somethingvery interesting, very metal, and maybe even new. MURDERCASTLE is the vessel with which anew genre of metal has been born, and we have taken to calling it “Murder Metal.” Unlike Death,Grind, Tech, or Black Metal, Murder Metal runs the gamut of these genres, and like a seasonedbutcher setting to work on a gutted pig carcass, we have meticulously carved off the sweetest meatsto be eaten for dinner. There is no mess, there is no blood, these are calculated, almost elegantbutcherings of the most select parts, to be enjoyed with a fine red wine and light garnish, until youget to the parts so rich with meaty goodness you gorge yourself. But, when you arrive at the endof the meal with only bones left on your plate and the taste of blood still on your lips, you daintilywipe off your mouth with a fine linen napkin, clear the table and perhaps enjoy a brandy by the fire.Brutal yet elegant, modern yet classic, this is Murder Metal, we are the Onslaught Orchestra, andthis is MURDERCASTLE. Enjoy and watch out for the waltz pit.Thanks for rocking with us.John deCampos & and the Onslaught OrchestraWARNING – READING THE FOLLOWING LYRICS BEFORE THESONGS ARE PERFORMED COULD CLUE YOU INTO PIVOTALPLOT POINTS AND GENERALLY BRUTAL PARTS OF THE SHOW. DO NOT PROCEED UNLESS YOU LIKE SPOILERS. AN EP SAMPLER THAT WAS PROFESSIONALLY RECORDED AT THE NICE PACKAGE RECORDING COMPANY IS AVAILABLE AT OUR MERCH TABLE

OVERTURE, Parts I & II DR. HOLMES PRESCRIPTIONArranged by Zack Branch with The Onslaught Music by Zack Branch and Erica PatokaOrchestra Lyrics by Jared Margulies, John deCampos & Erica PatokaTHE WHITE CITYMusic by Ruby Fulton They ask me how I do it--Lyrics by Jared Margulies & Erica Patoka with And what’s in my bag of tricks.Aran Keating I always say to be clever and ruthless in busi- nessHere in Chicago, the future is calling your But that’s all nonsense I confessname I’m doctor, and a chemistOur city burns brighter and remains awake A man of letters all my lifelonger with each passing day I’ll advise you, or provide youOur train lines are faster and our slaughter- with tips that pleasure your wife!house quick with the blade I can provideAnd if you’re looking for workers, Chicago’s a guaranteed methodgot them in spades! in how to succeed in lifeBut in the White City I assure you, I can cure youDon’t let the smell of progress put you off any malady, illness or painThere are sacrifices to be made when the I’ve the knowledge and the know howgains are good and money’s paid and our to change misfortune into gaingoods are plentiful enough I can provide a guaranteed methodI used to dream of leaving to travel the world. in how to succeed in life.But why bother when the whole world’s arriv-ing home to me instead? MY LIFE’S WORKThey said the city would never be built in Music by Chris Bainestime-- Lyrics by Erica Patoka, Jared Margulies & AranBut all we needed were workers with muscle Keatingand some extra dimes.There is endless potential if I could find my I have built this spaceplace Brick by brick each laid Chicago is booming and I know that I’m ready My philosophy of profitto do what it takes is contained within these wallsTo make it in the White City it’s secrets feed this grand machineThe smell of progress cannot put you off and welcome one and all There are sacrifices to be made when the I can feel this light and heatgains are good and money’s paid and our Emitting a strong heartbeatgoods are plentiful enough With precision AutomationIs it just fate I’m not here for pleasure but pain I’ll show them my life’s workCan I resist the temptation Chicago holds When I’m entombed in dirtsway? Flesh is capital And I’m affableThis is the White City To trim excess expenseDon’t let the smell of progress put you off When it’s convenient.There are sacrifices to be made when the Many hours I’ve spentgains are good and money’s paid and our crafting this experimentgoods are plentiful enough

(MY LIFE’S WORK, CONTINUED) I know you can!My hotel’s unflagging hum Benjamin F. Peitzel!is like the siren’s call Listen to me!creating endless streams of wealth Don’t force mefrom which my pockets draw to leave! !I can feel this light and heatEmitting a strong heartbeat THE SKELETON WALTZSmall-minded men Music by John deCampos & Chris BainesCan’t do what I canFollowing my plans THE PROMENADE – “After the Ball”They’ll bow when I stand Arranged by Zack BranchThey’ll be enraptured by my...Life’s...WORK! Written by Charles K. Harris 1891PITEZEL’S PREDICAMENT ~ WHITE CITY TRANSITION ~Music By Jonathan Smeltzer, Tyler Merchant &John deCampos POISONS OF THE GILDED AGELyrics by Erica Patoka Music by Erica PatokaBenjamin F. Pitezel!, Lyrics by Erica Patoka, Jared Margulies &Listen to me! Aran KeatingI speak Is there no hearthonestly Pumping blood through this town?Our roots It is so very strangerun deep It’s cold and derangedYou were the man The poisons of this gilded ageof my dreams I see your memoryBut now you’re an apprentice of schemes! Wherever I goHear my words A voice from the pastYou’re not fooling me Your face in the glassThat’s not like you How could I let this come to passWhy can’t you see? I was taught to fend for our needsYou can’t pretend But a lick and a promise won’t get you to meto be a man I’ll force them to seewho lives a lie I must forge aheada dishonest plan! Trace the missing threadI’m ...trying to provide And find the strength I hadfor our home Promised unto deathWhy can’t you trust me, I will find youand do as you are told? Dances and dresses won’t bring you to meI said I’d give you the world Diversions and men who play with yourSo let me try dreamsYou deserve much more They are not what they seemdon’t let this dream die I must forge aheadHear my words Trace the missing threadYou’re not fooling me And find the strength I hadThat’s not like you Promised unto deathWhat am I to do?! I will find youTrust is earned I will find you….please be the man I will find you….You swore you were

DREAM SEQUENCE I (Premonitions) MADAM OPTICONArranged by Zack Branch & Erica Patoka Music & Lyrics by Erica PatokaInspired by “After the Ball” by Charles K. From your eyes,Harris, 1891 I can see your path unwinding, forwardSLAUGHTERHOUSE From your stance,Music by John deCampos, Jonathan Smeltzer I can read patterns& Chris Baines the past, and presentLyrics by John deCampos & Jared Margulies I’ll let your story unfold!HOLMES: I’ll find the truth in your soul!What would you be? ’ll let your story unfold!If you hadn’t followed me. I’ll find the truth in your SOUL!Lying dead in ditchwith nothing to your name. DREAM SEQUENCE II (Nightmares)I took you in Music by Erica Patoka, Zack Branch & Johnand showed you the light DeCamposDestroy your fear Sound effects and soundscape by Stephen FrankDissolve your weaknessPIETZEL: REPRISE OF POISONS OF THEYou’ve said these things before GILDED AGE / GEYER’S CHASEI’m tired of taking chances Music by Erica PatokaI’m tired of scraping by Lyrics by Erica Patokamy wife’s worn out glances ANNIE:The walls are closing in Page after page, turning, no end in sightIt’s time for a decision and then, from the shadows, a truth broughtDo I trust the man I see to lightHis calculated vision Soon i’ll have my answer, chapter close to it’sHOLMES: endWork with me So why’s my heart racing, and filled withAnd you’ll see tomorrow dread?Our dream remains alive Is this someone’s call to my prayer?Don’t extinguish the fire Am I ready to find what’s really there?When your walls came down ANNIE & GEYER:I lifted them back up I must forge aheadYou turn on me now? Trace the missing threadwhen the best is yet to come. Use the strength I haveHOLMES: Listen when I swearYour trust is all I need. I will find youWe’ll make them bleed. GEYER:What’s mine is yours His method, near perfect, yet I cannot findFeast on the good meat The logic, the reason of this criminal mind!suck out the marrow Yet there is error in having such pride.Witness our greatest I’ll solve this case, it’s my timefeat! I’ll foil the plots he’s carefully arranged He’s met his match, I’ll see him hang ~ INTERMISSION ~ ~ WHITE CITY REPRISE ~THE MIDWAY MEDLEYWritten in collaboration by the individualmembers Onslaught Orchestra

REPRISE OF POISONS OF THE GILDED AGE / GEYER’S CHASE CONTINUED)ANNIE & GEYER:I must forge aheadTrace the missing threadUse the strength I haveListen when I swearI will find youMURDERCASTLEMusic by John deCampos, Jonathan Smeltzer & Chris BainesSINEW AND BONEMusic by Erica PatokaLyrics by Erica Patoka & Jared MarguliesHOLMES:ManipulationOf Sinew and BoneDirecting blood flowAnd synchronized groansThis lack of precisionI cannot abideUnplanned death deliveredLeave me unsatisfied.ANNIE:Could it beHe’s not what he seems?Who is it I should fear?HOLMES: / (and)watch the play / It took me years My heart beats / I’ve set this stage / to build these roomsExcited now / I wrote the lines / to conjure dreamsI orchestrate / on every page / their fates are doomed Then take my bow / If he killed her / He will sufferANNIE: / I must answer / I have nothing / For these actions / Nothing to fear / Death is nothing A devil in plain sight... / Nothing to fear Holmes, now it is over...GEYER: CURTAIN CALL – “After the Ball” by Charles K. Harris 1891“After the ball is over,After the break of morn –After the dancers’ leaving;After the stars are gone;Many a heart is aching,If you could read them all;Many the hopes that have vanishedAfter the ball.” ~ Fin ~

“What made the Chicago “Of Chicago itself, whatmeatpacking industry can I say? It seems madunique was the way that it after money. It is ansurrealistically converted extraordinary fact. It iskilling animals into a the entrepot of the west,highly rational business. and must continue toButchering became a science, increase.”so much so that Chicagomeatpackers were said to – Journalist, 1855make use of every part of thehog except the squeal.” “In the heart of America is the radiant shell of the Columbian World’s Fair, one of the exhalations of that wonderful frozen dream, whose exquisite hues and airs and lines are a picture in which genius has been prodigal, and where are gathered the glories and mysteries of human achievement.” - Murat Halsted



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The Baltimore Rock Opera Society is a passionatecommunity of artists who create unforgettableexperiences through live original rock theater. BROS wasfounded in 2007 by a small group of friends sitting in abasement dreaming an impossibly enormous story thatwould be told through the awesome power of rock.Since that time, BROS has become a powerhouse of Baltimore’s cultural landscape.BROS invites artists, musicians, designers, andtechnicians from all backgrounds to add their talent toproductions, making the highly involved and face-melting qualities of these rock operas possible. For more information please visit w w w.B a lt i m o r eRo c kO p e ra .o r g