Please join us after the show for a Talkback!

NOTES FROM THE CREATORS

CERISE LIM JACOBS

Founding Artistic Director + Librettist
Dancing in Chalma

Dear Audience:

I’m honored to welcome you to the third edition of our annual series, Let’s Celebrate! In which diversity is celebrated! This year,  we present the world premieres of three 20 minute pieces based on significant holidays from Mexico, Uzbekistan, and Spain. 

As I sat down to write this note to you, I realized that these stories resonate vividly with what’s happening today in our world. 

“Dancing In Chalma,” is the story of a young woman’s attempt to reconcile with her family after many years of separation. She dances to Chalma with her pup, Xochil, to make a wish for reconciliation. But, it may be too late, as she and Xochil had a fatal accident on their way. Yet, she manages to tell her mom and dad she loves them – how? – you will need to see the show to find out. For me, it is a timely reminder about love. It reminds me how precious it is to be able to hold my family close this holiday season and always. And it makes me think of those families that are involuntarily separated because of current policies. 

“Thirty Angels” is the story of why sumalak, (made from sprouted wheat grains, crushed and stirred with water, flour and oil, overnight,) is prepared by women across Central Asia on the first day of spring (Navruz). Sumalak means “thirty angels” after a legend of how the dish came to be—that angels helped create a tasty porridge from seven stones for a poor mother with two hungry sons. To commemorate their triumph over starvation, entire villages band together to cook sumalak for all, a symbol that feeding each other is a community affair, that no one should be left hungry. What a symbol for today where food insecurity is rampant!

“Requiem Tomatina,” celebrates the largest tomato hurling festival in the world which commemorates the triumph of freedom over authoritarianism. An innocent food fight during a parade in the small town of Buñol was so enjoyable that it was continued thereafter every year. Under the dictatorship of Franco, however, it was banned as culturally irrelevant and irreligious. In a clever act of protest, the locals staged a “tomato funeral” to demonstrate their love for the tradition. This satirical protest worked! The ban was lifted and the festival has become the largest food fight in the world. Wow! The power of people to stand up against authoritarianism and win! What an inspiration for us. We need the power of satire, comedy, story telling – in short, the ARTS, to resist the totalitarianism that is surging in our world. 

Thank you for coming to the show and standing with us for all we believe in: Truth telling, artistry and activism. Happy 2026! 

 

Cerise Lim Jacobs, Opera Maker + Founding Artistic Director

White Snake Projects, An Activist Performance Company

January 10, 2026

FELIPE PÉREZ SANTIAGO

Composer
Dancing in Chalma

Chalma is a small town located in the district of Malinalco, about 60 miles from Mexico City.

Every year on January 2nd, thousands of pilgrims from all over the country gather in this little town to dance in honor of the Señor de Chalma.

The legend says that two Spanish priests, during the period of the conquest, heard about a cave next to Chalma that was a very important religious center and place of pilgrimage.

In this cave, the ancient pre-Hispanic god Oxtoteotl was venerated, and human sacrifices were performed in his honor in order to assure a good harvest. The Spanish priests were horrified by this, and they went to the cave to destroy the image of Oxtoteotl, but when they arrived, what they found, to their great surprise, was an image of a black Christ.

For almost two centuries, this image was venerated at the cave before being later moved to what is now known as the Templo de San Miguel Arcángel in the town of Chalma.

The tradition dictates that if you are a first-time visitor, you have to wear a flower crown, and once you arrive, you have to dance all the way until you enter the temple, as a symbol of respect to the Lord of Chalma.

With a beautiful text by Cerise Jacobs, “Dancing in Chalma” tells the story of Chely and her dog Xochitl in a spiritual and self-discovery trip where they encounter “Xula”, a magical dog who guides them through this mystical endeavor.

“Dancing in Chalma” was possible thanks to a commission by White Snake Projects and its director TianHui Ng.

LILIYA UGAY

Composer + Librettist
Thirty Angels

Every year on March 21, the air in Uzbekistan fills with the spirit of Navruz, the Persian New Year, and a celebration of spring’s awakening. At the heart of this festival lies the ritual of preparing Sumalak – a sweet, malted paste born from wheat sprouts and community spirit.

The process of making Sumalak is an act of collective endurance and love. Days in advance, wheat is sprouted to perfection, then hand-pressed to release a naturally sweet juice. This liquid is mixed with flour in a massive communal cauldron and must be stirred continuously from dawn until midnight to prevent it from sticking and burning. Because the stirring is so physically demanding, the task is shared by the women of the neighborhood, while the men and children provide music, dance, and food. It is a process that transforms hard labor into a vibrant celebration of mutual support.

In this one-act opera, we join a community gathered around the fire, where wise Dilbar and a young neighbor Nilufar are among the women who stir. As a 7-year old boy Nodirbek waits for his parents, who are working far away, he questions his grandmother (Dilbar) about why the Sumalak requires such tireless stirring. In response, she shares a legend rooted in the ancient Zoroastrian history of the region.

The story tells of a starving mother with nothing to feed her crying children; she just received the news that her husband passed away. In a desperate act to provide hope, she placed stones and wild wheat sprouts into a pot of water, stirring it endlessly so her children would fall asleep believing a meal was being prepared. As she collapsed from exhaustion, legend says that thirty angels descended to finish the cooking, leaving the imprints of their wings upon the surface of the now-delicious porridge.

As Dilbar finishes her tale in the quiet of the late evening, the legend meets the present day. The community’s weary stirring is rewarded when Nilufar arrives with joyful news: Nodirbek’s parents are returning home for the holiday. As the village settles into sleep and the Sumalak is left to “rest” until morning, the opera closes on a celebration of faith, family, and the rituals that bind us together.
 
Foreign words and expressions used in the opera:
 
Navruz (can be spelled as Nowruz) – Persian New Year, celebrated on March 21st (March equinox) 
Sumalak (also known as samanak/samanu/sumelek) – a thick brown sweet and smooth pudding-like dish
“Hayrli tong” – from Uzbek: “Good morning”
“Assalom Alleykum, yakhshimisiz?” – from Uzbek: “Hello, how are you?”
“Salom” – from Uzbek: “Hello”
“-opa” – from Uzbek: “sister”; commonly used as an addition to a female name, especially if an addressed woman is senior
“-aka” – from Uzbek: “brother”; commonly used as an addition to a male name, especially if an addressed man is senior
“Mashallah” – from Arabic:”As God wills”; commonly used as “Thanks God”
opajon – from Uzbek: sister (with a loving ending)
buvijon – from Uzbek: grandma
bobojon – from Uzbek: grandpa
onajon – from Uzbek: mommy
otajon – from Uzbek: daddy
jonim – from Uzbek: honey (often used addressing children)
“House of Songs” – in Zoroastrianism “garö-demánæ” means the highest heaven (after death)

TONY SOLITRO + JOHN DE LOS SANTOS

Composer + Librettist
Requiem Tomatina

Picture it: 

It’s the last Wednesday in August and the Spanish town of Buñol is bracing for its world-renowned annual fiesta. The Plaza del Pueblo is packed with locals and visitors from around the globe. Trucks arrive, releasing mountains of overripe tomatoes into the crowd in a blissful explosion of color and energy. Within minutes, the streets turn slick and red as strangers hurl tomatoes at anyone within reach — laughing, flirting, ducking, chasing, surrendering — until everyone’s soaked in pulp. 

Long before La Tomatina became an iconic rite of late-summer abandon, it came dangerously close to being erased. What began as a small-town prank in 1945 quickly grew in notoriety and popularity. Local authorities weren’t amused by the ensuing chaos and mess. Meanwhile, Franco’s regime was pressuring towns to suppress “unseemly” secular celebrations that didn’t promote a unified, Catholic, Spanish nationalist identity. 

In 1957, it all came to a head when the town council banned the festival. The people of Buñol responded with a protest funeral procession to mourn the loss of their beloved tomato day. This operatic outpouring of grief and rebellion is where Requiem Tomatina begins.

In Memoriam

Tomate, el pueblo no te olvida

CARA CONSILVIO, Stage Director

In these dark, cold days of winter, it is my great pleasure to invite you to celebrate with us as we explore the world through opera, from Uzbekistan to Mexico to Spain. This wonderful group of composers and librettists have written three distinct stories from different cultures and traditions. I have enjoyed collaborating with a wonderful team of artists and White Snake Projects to bring their stories to life and present them to you today. Enjoy!

SYNOPSIS

Thirty Angels

Celebrating Navruz, the Uzbek and Persian new year

A young child in an Uzbek village learns the meaning of the centuries old tradition of preparing Sumalak, a traditional celebratory food of germinated wheat, flour, cottonseed oil and water symbolizing community, friendship and good luck.

Dancing in Chalma

Celebrating one of the most important festivals of Mexico: The Black Christ

A young woman, estranged from her family, goes to Chalma to wish for a reconciliation. She discovers that she has died in a car accident and her wish cannot come true. In an act of grace, her beloved dog who had also perished returned to her family, bearing her gift of love and forgiveness.

Requiem Tomatina

Celebrating the largest food fight in the world

A motley group of protesters win over authorities when they squash and throw tomatoes at each other, smearing the juice over their bodies.

MEET THE PERFORMERS

MEET THE CREATIVE TEAM

Composer + Librettist
Thirty Angels

Composer
Dancing in Chalma

Librettist
Dancing in Chalma

Composer
Requiem Tomatina

Librettist
Requiem Tomatina

Stage Director + Projections Designer

Music Director

Rehearsal Pianist + Assistant Conductor

Lighting Designer + Master Electrician

Costume Designer

Projection Illustrations + Animations

MEET THE ORCHESTRA

PRODUCTION TEAM

Technical Director

Jeffrey Petersen

Stage Manager

Katelyn Geary

Arts Administrator + Supertitles Operator

Flora Hollifield

Videographer

Kathy Wittman

Projections Programmer + Operator

Jonathan Medley

Recording Audio Engineer

Téa Mottolese

Scenic Crew

Tom Amos and Steven Ducette

Lighting Crew

Tobias Walker

SUPPORT

White Snake Projects’ 2024-2025 programming is supported by a generous grant from the Mellon Foundation. Our programming is also supported the National Endowment for the Arts, Opera America, the Mass Cultural Council, the Boston Cultural Council, Reopen Creative Boston Fund, administered by the Mayor’s Office of Arts and Culture, The Free For All Grant at the Boston Foundation, The Asian Community Fund at the Boston Foundation, Live Arts Boston, and New Music USA.

RED PACKET CIRCLE

White Snake Projects is pleased to acknowledge the following dedicated contributors. The following gifts to White Snake Projects were recorded from January 1, 2025 through January 2026.

Paola Almonte-Colon
Marlene Aron
Joel Aronson
Peter Ascoli
Rosemary Ashby
Darcey & Chris Bartel
Christine Bassett & Carey Alexander
Alan Benenfeld & Dan Sarmiento
Susan Bennett & Jerry Pier
Martha Berardino
Pauline Ho Bynum
Michele Campbell
David Chavolla
Liesl Christie
Leslie Colburn
Dan & Julie Dain
Ann Davidson
Emma Downs
Beverly Egan
Ann Ehrhart
Geoffrey Epstein
Pirate Epstein
David Erlich

Joseph D. Feaster, Jr.
Jenn Freeburn
Charles Freifeld
Julian Gau
Isaac Gilliard
Susan Hall
T Hansen
Laura Strohecker Herman
Judy Hernandez
Toni Jackson
Cerise Jacobs
Romualda Jerome
Philip Katz
Nathan Klein
William Klein
Kathy Krongel
Shirley Leong
Joanne Livesey
Pamela Lodish
Julia Logan
Ellen Lowre
Linda Luke
Arabella Lyon
Drew Mittelman

Trapper Markelz
Milagros Masini-Patel
David McGrory
Margaret McKenna
Ria McNamara
Marcie Miller
Elizabeth Neumann
David Nichols
Judith Ockene
Michelle Picotte & Shaun Sullivan
Zane Pihlstrom
Regina Pisa
Nira Pollock
Diane Remin
Suzanne Ricco
Nancy Rich
Martha Richards
Waleska Rodriguez
Jack Rollinson
Jessica Rucinski
Camy Ruck
Lauren Sankovitch
Joanne Sattley

Mark Schubin
Dan Seaman
Kat Skafidas
Jim Smith
Joan Ross Sorkin
Lizzy Stant
Timothy Steele
Mary Stevens
Cecilia Sze
Ann Teixeira
Shari & Robert Thurer
Marian Tse
John VanScoyoc
Denver Vazquez
Carolyn Walton
Mary Watkins
Peter Wender
David West
Alan West-Durán & Ester Shapiro
Kim Whitener
Susann Wilkinson
Denise Zirpolo
Janet Zwanziger

SPECIAL THANKS

Miranda Burel
Charles Calotta
Richard Futrell
Asiyah Herrera

Toni Jackson
Ivete & Max Souza
Paloma Valenzuela
Richard Wheelock

OUR COMMUNITY PARTNERS

826 Boston
Beyond Plastics Boston
Boston International Newcomers Academy
Boston Music Project
Brookline Public Library
Brookline Community Foundation
Extinction Rebellion Boston

GrowBoston
Mayor’s Office of Arts and Culture
Milton Community Concerts at First Parish
New England Aquarium
Outside the Box
Stop Private Jet Expansion

OUR VENDORS

CORPORATE SPONSORS

ABOUT WHITE SNAKE PROJECTS

White Snake Projects is one of the few music theater companies led by an immigrant woman of color. We make mission-driven work that unites artmaking with civic practice, envisioning a world where the power of opera expands our collective understanding of community and transforms lives through creative storytelling.

Music theater has long been the domain of white Eurocentric gatekeepers. WSP exists to disrupt this culture and revolutionize how we think about what “opera” is, can be, or should be. We believe that to bring opera into the 21st century by telling stories of our times, we have to engage composers and writers with lived experiences, and we have to do it now.

A critical element in our exploration of pressing contemporary issues is the establishment of authentic connections with thought leaders in social justice to ensure that our work lives in an ecosystem of activism. We believe that our platform of opera-based activism is a privilege and invite stakeholders to make art with us. We have an especial focus on youth, working with them to bring new technologies to opera through the game engine – Unreal, and engaging them in writing lyrics and recently, libretti.

Cerise Lim Jacobs
Founding Artistic Director

Tianhui Ng
Music Director

Flora Hollifield
Arts Administrator

Charles Calotta
Social Media Manager

April Thibeault, AMT Public Relations
Public Relations

Dan Dain
Chair

Cerise Lim Jacobs
Co-Founder & Clerk

Charles Jacobs*
Co-Founder & Chair Emeritus

*In Memorium

Marlene Aron

Darcey Bartel

Pauline Ho Bynum

Ann Ehrhart

David Erlich

Niol Ma

Mimi Picotte

Shari Thurer

LEARN MORE ABOUT OUR ACTIVIST PROJECTS

Sing Out Strong: Environmental Voices

Indigenous Directory for Musical Storytelling

Show Out Boston!

Past Productions

DON'T MISS OUR UPCOMING SHOWS!

LET'S CELEBRATE!