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The Amazing Adventures of Kavalier & Clay

The Metropolitan Opera

2025

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Bringing the comic book world to the Met Opera’s stage.

59 Studio was invited to reimagine the world of The Amazing Adventures of Kavalier and Clay for New York’s Metropolitan Opera. Opening the Met’s 2025/2026 season, the production explores themes of immigration, Jewish identity, artistic ambition, resilience and the struggle against fascism. This is brought to life through bold visuals inspired by the comic book world and the lively streets of 1940s New York City.

In this new operatic adaptation of Michael Chabon’s Pulitzer Prize–winning novel, set shortly before the outbreak of the Second World War, two Jewish cousins invent an anti-fascist superhero and launch their own comic-book series, hoping to recruit America into the fight against Nazism.

Incorporating electronic elements and a variety of musical styles, composer Mason Bates’s eclectic score moves seamlessly among the three worlds of Gene Scheer’s libretto: Nazi-occupied Prague, the bustling streets of New York City, and the technicolour realm of comic-book fantasy. Bartlett Sher’s production provides spectacular visuals to match, with towering sets and projections designed by 59.

The production marks the first time that the Met had selected a single studio to produce set, lighting and video design, giving the 59 team both the freedoms and the challenges of designing seamlessly across disciplines to bring the story to life. Taking on a broad range of design responsibilities gave us greater scope to explore an integrated, multi-dimensional approach to help more fully realise the ambition of the project.

Borrowing approaches and techniques from our work on Broadway and in the realm of immersive experience design allowed us to bring a fresh perspective to the classical world of opera, one that enhances storytelling while honouring traditional production methodology. With this knowledge, we wanted to blur the boundary between set and story and elevate the audience experience.

We are excited for both returning and new audiences to experience the show, which runs from September 21st to October 11th 2025.

Opened 21 September 2025

New York City

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Reviews:

★★★★
The Met is back with a bang. The production switches between Prague, New York and the fantasy of The Escapist with the fleetness of a comic book.

 

Moreover, the use of new technology has never been more polished or enticing in any opera the Met has produced thus far

 

A visually cohesive production that blends realism and sliding panels on which 59 Studios projects stylized animations. The projections pay off in thrillingly filmic moments that reveal how a pencil’s sketches can open into an entirely new world. And Sher makes scenic transitions, even from the top of the Empire State Building in a lightning storm to a crowded party in an art gallery, look as easy as the flip of a comic book page.

 

★★★★
Director Bartlett Sher has great material to work with, including projections (by 59 Studio), of barbed wire and trains in a black-and-white Eastern Europe, New York’s skyline as a backdrop, a busy office, and magnificently, Joe’s drawings for The Escapist, which come vividly to life
Met’s season opener had me convinced—and hooked—from the very first orchestral swell. It soars in the superhero realm, devastates in the human one, and, most importantly, offers an accessibility that won’t send newcomers to the opera running for the exit.
The heroes of the evening are director Bartlett Sher; his set, lighting and video design collaborators 59 Studio; and costume designer Jennifer Moeller, who supply the speed, atmosphere and dramatic build. Scenes switch effortlessly from Prague, with its shadowy bridge looming over the Moldau, to a Brooklyn tenement, a busy office, a tony art gallery, and the roof of the Empire State Building.
★★★★
Scenes unfold like panels of a comic book, and the use of video (by 59 Studio) is perhaps the best I’ve seen on the Met’s stage

 

The production is dizzying…shepherding the opera around, with its big cast and amazing, ever-shifting scenic design from 59 Studio, was Bart Sher, doing some of his best work for the Met. It was no small achievement, with the constant changes in the who-why-and-where of the marvelous production.

 

Credits

Director
Bartlett Sher

Composer
Mason Bates

Librettist
Gene Scheer

Set, Video & Lighting Design
59 Studio

Costume Design
Jennifer Moeller

Sound Design
Rick Jacobsohn

 

Choreographer
Mandy Moore

Dramaturg:
Paul Cremo

Chorus Director 
Tilman Michael

59 Team

Project Director:
Mark Grimmer

Set Designer:
Jenny Melville

Video Design Director:
Nicol Scott

Lighting Designer:
Benjamin Pearcy 

Senior Producer:
Teya Lanzon

Associate Set Designer:
Asha Pandit

Designer:
Simran Phull

Animators and Visual Artists: 
Jesse Richards
Stuart Fortune
Anya Allin

Scenic Artist and Model Maker:
Rachael Smith 

 

With thanks to the additional 59 team: 
Georgia McNeill
Nour Shalaby
Emma Gannon