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Three Decembers

Three Decades. One Family.

At the center of Three Decembers is Madeline Mitchell, a glamorous Broadway star whose career has always come first. As the years pass, her two adult children—Bea and Charlie—struggle to reconcile their own lives and identities with the shadows cast by their mother’s fame, distance, and emotional armor.

Spanning three Decembers in 1986, 1996, and 2006, this intimate, character-driven opera explores the complexities of family, the ache of unresolved grief, and the truths we choose to hide or reveal. With a stirring, modern score by Jake Heggie (Dead Man Walking), Three Decembers delivers powerful storytelling through soaring music and raw emotion.

Join us for this rare and poignant chamber opera presented in English—where the drama feels close, the voices ring true, and the story might just feel a little familiar.

Courtesy of Opera Birmingham

 

PART I:  DECEMBER 1986

 

Siblings Charlie and Beatrice (Bea) read their mother’s annual Christmas letter while talking on the phone. They share laughs and unapologetic sarcasm over their mother’s writing style, attempting to gloss over their strained relationship with her. Charlie is in San Francisco and Bea is in Hartford, while their famous mother, Madeline (Maddy) Mitchell, is working in the Caribbean for the holiday. Maddy writes about Christmas with their father before they were born. Bea admits that she hardly remembers their dad, since they were both very young when he died, but they miss him nonetheless. Maddy announces that she will be starring in her first Broadway musical, which Charlie refuses to attend. Maddy ends the letter with goodbyes, but she wrongly addresses Charlie’s partner as Curt. Charlie becomes increasingly upset, having hoped that after five years with Burt, his mother at least would have remembered his name (“Curt.” She called him “Curt”). Bea admits that she envies the love Charlie and Burt share.

 

On stage, Maddy sings “Daybreak,” the final number from her new Broadway show.

 

A well-dressed Bea joins Maddy in her dressing room after a performance of the new musical. Bea praises Maddy’s performance as she instinctively helps her mother with her post-show dressing room routine. Bea is very concerned for Charlie and Burt as AIDS is causing Burt’s health to deteriorate rapidly. She accuses Maddy of being an absent parent, unsupportive of her children. Defending herself, Maddy claims she was only away from her children because she had to provide for the family as a single mother.

 

Bea visits Charlie in San Francisco. Burt is not doing well, and Charlie is coming to terms with Burt’s impending death. The siblings reminisce on their childhood, what they remember about their father, and what they may have invented over time (Duet: What do you remember about Dad?)

 

PART II:  DECEMBER 1996

 

Charlie is alone in his apartment, surrounded by packed and sealed boxes, flipping through his journal and disclosing that Burt died recently at Christmastime (Each day I write you four little lines). Maddy eventually came to visit shortly before Burt died. Maddy’s voice is heard, singing the lullaby Charlie’s father used to sing to him, and which she sang to Burt when she visited.

 

Maddy has been nominated again for a Tony Award. Bea and Charlie plan to join their mother for the award ceremony. All three in their respective locations sing the father’s lullaby, encouraging themselves to let go of their fears and frustrations.

 

Alone in Maddy’s apartment on the night of the Tony Awards, Bea stands in front of a full-length mirror, trying on her mother’s clothes as she sips from a glass of wine (She’s late). Bea is slowly unraveling in her insecurities, her mother’s criticism and neglect, her unfaithful husband, and her drinking habits. Charlie rushes in with shopping bags, noticing that Bea is upset, but she denies it. He attempts to raise her spirits with impersonations of their mother. Maddy enters, preparing her acceptance speech. She plans to acknowledge Charlie and Burt’s relationship and how no one is immune to tragedy. Charlie and Bea are unimpressed. Maddy accuses Bea of being drunk and acting just like her father, revealing the grim truth that their father was an alcoholic who could not hold a job. The children believed their father had been killed in a car accident, but Maddy finally shares that his death was a suicide. Charlie and Bea are devastated. Their argument is interrupted because Maddy must get ready for the award ceremony. Bea and Charlie, shattered by the news of their father, refuse to go with Maddy.

 

PART III:  DECEMBER 2006

 

Maddy has died quietly in her sleep, after writing her latest Christmas letter. Bea and Charlie speak at her memorial service held in a Broadway theater. They offer a loving tribute to both their parents’ souls. The service concludes with the last lines from Maddy’s final Christmas letter: “All in all, isn’t life simply grand? I’m so awfully glad I showed up for it.”

September 19, 2025

Opening night

September 21, 2025

sunday matinee

Cast & Creatives

Kara Shay Thomson
Madeline Mitchell
Jason Edelstein
Charlie
Denique Isaac
Bea
Cody Martin
Conductor
Joshua Borths
Stage Director

Production Team:

Conductor | Cody Martin
Director | Joshua Borths
Scenic & Lighting Designer | Connie Smith
Costume Designer | Kendall Dayton
Hair & Makeup Designer | TBA
Production Stage Manager | Nadine Andrews
Rehearsal Pianist | Marine Eckert

Meet the Composer

American composer Jake Heggie is best known for Dead Man Walking (2000), the most widely performed new opera of the last 25 years, with a libretto by Terrence McNally, and his critically acclaimed operas Moby-Dick (2010), Three Decembers (2008), Intelligence (2023), and It’s a Wonderful Life (2016), all with libretti by Gene Scheer. In addition to 10 full-length operas and numerous one-acts, Heggie has composed more than 300 art songs, as well as concerti, chamber music, choral, and orchestral works, seeking out projects that invite a wide range of perspectives and possibilities. His compositions have been performed on five continents, and he regularly collaborates with some of the world’s most beloved artists as both composer and pianist.

In the 25/26 season, Dead Man Walking celebrates its 25th anniversary with performances across the globe, including a new production at English National Opera, the Western Australia premiere at Freeze Frame Opera, a student production at CU Boulder, and a special run at San Francisco Opera, which originally commissioned the work. Elsewhere, Heggie’s opera Intelligence receives a new production at Virginia Opera, as well as a world premiere album release by Houston Grand Opera on the LSO Live label. “Fire,” commissioned by violinist Joshua Bell for his concerto The Elements, travels to Houston Symphony, Naples Philharmonic, and Ottawa’s National Arts Centre Orchestra, and new commissions appear with London Symphony Orchestra, Cabrillo Festival of Contemporary Music, Madison Symphony Orchestra, and Los Angeles Philharmonic. This season also marks a new chapter in legacy-building, as Heggie joins the faculty of San Francisco Conservatory of Music as the Diane B. Wilsey Distinguished Professor of Composition.

Presenting Sponsor

Thank You!

In case you missed our event, tune in as Conductor Cody Martin presents an overview of Jake Heggie’s Three Decembers. Enjoy performances by Jack Chandler and Dr. Rachel Gibson and a few snippets of the show.

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The Venue

UWF Center for fine & performing arts

Built in 1991, the Center for Fine & Performing Arts (CFPA) at the University of West Florida is the heart of artistic expression for the University and a primary destination for arts and culture in Northwest Florida. Home to the Department of Art and Design, Department of Theatre, and Dr. Grier Williams School of Music, the CFPA specializes in showcasing the work of UWF students. Additionally, the CFPA, in conjunction with the three academic departments it houses, is committed to bringing artists from across the world for the enjoyment, enrichment and artistic development of UWF’s student body and the Northwest Florida community.
 
Mainstage Theatre
An intimate 427 Seat Proscenium Theatre equipped with a full fly rail system, creative apron entrances, and Full Orchestra Pit.

 

Street Address:
82 Service Rd
Pensacola, Florida 32514