WORKS
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Operas and Musicals
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Dialogues of the Travelers

Dialogues

of the Travelers

A two-act musical of movement and encounter, where every stop becomes a test of voice, desire, and belonging. Through collision and refrain, the work maps what happens when people in transit are forced into momentary proximity.

Premiered: 
October 3, 2008

Works Performed at

FORMAT

Stage musical / theatrical song-cycle (two acts)

WORLD PREMIERE

October 3, 2008

CREATED, WRITTEN, AND DIRECTED BY

Georgia Shreve

RUNTIME

Approximately 120 minutes (full-length)

Dialogues of the Travelers is a full-length musical mosaic in which strangers, lovers, officials, witnesses, and passersby cross through stations of transit, each encounter exposing a different pressure point of modern life. Set across public and private thresholds, the piece transforms travel from simple movement into a metaphor for identity under strain. Comic, lyrical, jagged, and unexpectedly tender, it is a work about crossing borders of class, intimacy, power, language, and self-perception.

In Georgia’s Words

“Dialogues of the Travelers  is my way of writing movement as a state of mind. I wanted it to feel fast, witty, and unpredictable, with vignettes that can be absurd one moment and unexpectedly tender the next. I’ve always loved sharp, intelligent comedy, from Steve Martin to British absurdist traditions, and that tonal play is part of the piece’s structure. Travel destabilizes us, and in that instability, people reveal themselves.”

Cast Includes

Gwen Eagleton

as Woman 1

Carly Zien

as Woman 2

Brittany Mayer

as Woman 3

Nathalie Lurowist

as Woman 4

David Dewitt

as Man 1

Gordon Maniskas

as Man 2

Jeff Reynolds

as Man 3

About the Work

Dialogues of the Travelers is a two-act theatrical songwork built from a sequence of vivid, fast-moving vignettes that capture people in transit, geographically, socially, and emotionally. Rather than a single protagonist’s arc, Georgia Shreve composes a mosaic of encounters: strangers colliding, intimacies forming and dissolving, status games, confessions, misunderstandings, and sudden moments of clarity. The piece is intentionally episodic, but never scattered. Its pacing is highly controlled, creating the sensation of constant motion while allowing each scene to leave a distinct emotional trace.

A defining quality of the work is its tonal agility. Shreve moves fluidly between satire, absurdity, poignancy, and lyric reflection, often within the same sequence. Humor is central, but not decorative. It functions as a precision instrument, exposing vanity, loneliness, desire, and social performance. The influence of absurdist and British theatrical wit is palpable, yet the voice remains unmistakably her own: elegant, sharp, and emotionally alert.

Musically and dramaturgically, the structure mirrors the subject. Just as travelers pass through stations and thresholds, characters move through psychological states without guaranteed resolution. Scenes arrive, flare, and shift. Songs refract rather than interrupt the dramatic action, revealing interior tension beneath outward behavior. This gives the piece its particular charge: it feels both playful and exacting, entertaining and psychologically observant.

What gives Dialogues of the Travelers its staying power is this balance of intelligence and volatility. It invites laughter, then complicates it. It offers stylized theatricality, then punctures it with intimacy. The result is a work that honors contradiction, high and low, comic and aching, polished and raw, while remaining deeply human at its core.

Selections From The Work

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Enron
In “Enron,” Georgia Shreve turns corporate collapse into biting music-theater satire, following Carol Sidney as loyalty, ambition, and conscience collide. With sharp tonal shifts and escalating moral pressure, the work reveals how institutional fraud is sustained not by one villain, but by a culture of performance, fear, and strategic silence.
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In "Money," Georgia Shreve reimagines Bulwer-Lytton’s classic satire as a musically charged social comedy where reputation, desire, and class are all in play. Elegant, funny, and quietly devastating, the work exposes how quickly human relationships become transactional when status sets the terms, and asks what kind of worth can survive a world obsessed with price.
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Lovesick
"Lovesick" is a full-length rock opera by Georgia Shreve that follows two wounded protagonists through breakup, diagnosis, folklore, and pharmaceutical modernity in search of relief from romantic obsession. By fusing satire with psychological intimacy, the work reframes love not as a simple affliction to cure, but as a force that alters perception, identity, and emotional truth.
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The Art of Being Oscar
In “The Art of Being Oscar,” Georgia Shreve crafts a digitally staged music-theater portrait that captures Wilde’s brilliance, theatricality, and fragility in equal measure. Blending sharp wit with emotional consequence, the work reimagines literary legacy as living drama, where persona dazzles, language cuts, and vulnerability is never far from performance.
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The Countess of M—
In nineteenth-century France, a sheltered aristocratic daughter enters a secret romance with a fallen nobleman, discovering both the thrill of being chosen and the cost of defying the social order around her.
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A darkly funny three-scene play about two sisters who grow up treating family dysfunction like a math problem. Ten years later, memory returns with teeth, and “the odds” becomes the name for what was hidden in plain sight.
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The Enigma Variations
In “The Enigma Variations,” a daughter chronicles her composer mother’s brilliance and unraveling as harassment, domestic pressure, and illness sever her from the piano that defines her life. Expansive, intimate, and devastating, the story is both elegy and indictment, revealing how a creative life can be erased long before death.
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In “Mother in the Snow,” Georgia Shreve turns a winter stumble into a piercing portrait of maternal endurance under watchful eyes. Dark humor and raw imagery reveal a woman improvising her way forward while trying to hold dignity, and herself, together.
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In “No Pity for Pigeons,” Georgia Shreve transforms a quiet park encounter into a piercing social portrait of class, displacement, and human vulnerability. What begins with birds and cake ends with a deeper grief: not for pigeons, but for people quietly pushed to the margins of the worlds they once called ordinary.
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In “You, We, I,” Shreve turns pronouns into emotional architecture, mapping how intimacy moves between fusion and fracture. With spare, incantatory lines, the poem captures two people reaching for truth through glare, innocence, and uncertainty, before landing on a haunting final shift from “we” back to “I.”
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New Life
In “New Life,” Shreve imagines reinvention as metalwork: each day newly minted, each love a chance to re-stamp the self. Through images of repaired bridges, open doors, and an untouched bed, the poem captures the vulnerable mechanics of beginning again without denying what came before.
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Is There a Poem in the House?
In “Is There a Poem in the House?”, Shreve turns inspiration into a haunting presence that seeps through walls, books, and breath before vanishing again. By merging domestic imagery with artistic dread, the poem captures the fragile cycle of creative arrival and loss with wit, unease, and precision.
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