POP's hit Star Trek-themed parody of Mozart's Abduction from the Seraglio returns to LA for one night only at the historic Ford Amphitheatre September 3 at 8pm. Since it's sold-out Los Angeles premiere in March 2015, the production has sold-out runs in Tennessee and Texas.  Later this year it will travel to Oakland, CA and Connecticut.  The orignal cast returns for this epic night of entertainment.  This will be, quite simply, the biggest night in POP history.  Don't even think about missing it!  A cast of 40+ singing and dancing Klingons, Alien Slave Girls, and all your favorite Star Trek original series characters are joined by a full orchestra for one night under the stars in the newly rennovated and re-opened Ford Amphitheatre.  Whether you are a Star Trek fan, an opera fan, or just a fan of great entertainment--this show is for you!  Don't believe us?  See the reviews and videos below.


Hailed by KUSC Los Angeles as the “next great tenor”, Brian Cheney has gained international acclaim for his portrayal of characters such as Don José in Carmen, Mario Cavaradossi in Tosca, Rodolfo in La Boheme, the Duke in Rigoletto, Edgardo in Lucia di Lammermoor, and Canio in I Pagliacci.  “It is tenor Brian Cheney as the brave painter Cavaradossi who really blew me away. Cheney has that terrific tenor sound: the power, richness, and vocal color of a high baritone combined with ringing, awe-inspiring high notes." Stage and Cinema

Known as opera’s Captain Kirk, his Belmonte in POP’s hit Abduction from the Seraglio continues to charm audiences and critics nationwide. LA Splash hails Cheney as “a beautiful voice, which he melds happily with his campy and funny portrayal of Captain Kirk” and the Huffington Post declares his Belmonte as “Ham-bone supreme”.


Engagements for the 2016/17 season include Belmonte in Opera Piccola San Antonio, Festival Opera, and Salt Marsh Opera, Rodolfo in La Boheme with the Windsor Symphony and Norwalk Symphony Opera and Tenor Soloist in Salute to Vienna at Lincoln Center, Walt Disney Concert Hall, and the Jacobs Music Center in San Diego.


To watch his 6 part documentary and to purchase his critically acclaimed album please visit www.BrianCheneyTenor.com for more details. “Cheney exhibits a robust, ringing tenor with a sure sense of style, firm tone and excellent diction.”  OPERA NEWS

Acclaimed for her “heart-breaking poignancy” and “beautifully tuned soprano” by

the San Francisco Chronicle and for her “enchanting vocal splendor” by the

Leipziger Volkszeitung, soprano Shawnette Sulker is a sought after artist in the

United States and abroad. A consummate performer, her recent operatic roles

include singing Zerbinetta in Ariadne auf Naxos with Festival Opera and

Cunegonde in Candide with Oakland Symphony. Her recent concert work

includes singing the soprano solos in Beethoven’s Symphony No. 9 with Santa

Rosa Symphony and Peninsula Symphony, Scarlatti’s Su le sponde del Tebro with

Pacific Chamber Symphony, and Orff’s Carmina Burana with Sacramento Choral

Society & Orchestra. Internationally, Ms. Sulker has sung Adele (Die

Fledermaus) with Internationale Opera Producties and a recital at Red Door

Studios, both in the Netherlands, and an orchestra concert featuring Porgy and

Bess highlights and Mendelssohn’s Psalm 42 in Leipzig’s Gewandhaus and

Prague’s Smetana Hall.

Ms. Sulker has sung with the San Francisco Opera, Mark Morris Dance Group,

American Bach Soloists, Hawaii Opera Theatre, Union Avenue Opera, Opera


Naples, and the Natchez Opera Festival, to name a few. Her roles include Die

Königin der Nacht (Die Zauberflöte), Musetta (La Bohème), Susanna (Le nozze di

Figaro) and Lauretta (Gianni Schicchi). Some works on Ms. Sulker’s concert

repertoire list are Mozart's Grand Mass in C minor, Bach’s Jauchzet Gott in allenLanden and Mozart’s Exsultate, Jubilate. Upcoming engagements will feature

performing the soprano solos in Carmina Burana with UC Davis Chorus and

Orchestra, Soprano III in Mahler’s Symphony No. 8 with Redwood Symphony,

and the soprano solos in the Messiah with Pacific Chamber Symphony.

Tenor, Robert Norman is thrilled be returning to Pacific Opera Project as Pedrillo, having previously appeared in eight original productions and two revivals. He placed fifth in the 2016 Loren L. Zachary Society National Vocal Competition, is an L.A. District winner for the Metropolitan Opera National Council Auditions, and winner of Center Stage Opera’s David W. Scott Memorial Competition. He received both his Bachelor’s and Master’s Degrees from CSU Northridge, and is an alumnus of the Opera Santa Barbara Studio Artist Program.


Recent performances for Mr. Norman include Goro in Madama Butterfly with Opera San José, Dayton Opera, Salt Marsh Opera; Dr. Caius in Falstaff with Opera San José; Tobias Ragg in Sweeney Todd with Townsend Opera, Fresno Grand Opera; Steve Hubbell in A Streetcar Named Desire with Opera Santa Barbara, Union Avenue Opera, Townsend Opera, and Fresno Grand Opera. He is a regular performer with Los Angeles Opera’s community and education programs, and has thrilled audiences as a monster hot dog, an evil game show host, a conspiratorial Babylonian advisor, and Mr. Mozart himself.


Upcoming performances for the 2016-7 season include Pedrillo in Abduction from the Seraglio with Festival Opera and Salt Marsh Opera, Sellem in The Rake’s Progress with Pacific Opera Project. Mr. Norman will also return to Dayton Opera to perform as Beppe in Pagliacci and Pedrillo in Abduction from the Seraglio. www.robertnormantenor.com

Known for her “ringing powerful soprano” and “gorgeous refined voice”, Los Angeles based soprano Claire Averill brings a fresh and expressive energy to the stage.  Her operatic roles include Blondie in Abduction From the Seraglio, Calisto in La Calisto, Madame Goldentrill in The Impresario, Baby Doe in The Ballad of Baby Doe, and Gretel in Hansel and Gretel. Ms. Averill starred as Olivia in Scope Toy Theater Company’s “Star in a Glass Jar” which performed in Los Angeles and Moscow. She has worked on several semi-classical recording projects including the role of Eugenie in a recording of The Count of Monte Cristo.  Ms. Averill has sung as a chorister in both Le Nozze di Figaro and The Mikado with Pacific Opera Project. She sang the title role in Pacific Opera Project’s bawdy production of La Calisto which marked the opera’s Los Angeles premier. Ms. Averill sang the role of Blondie as part of the original cast of POP’s critically acclaimed Star Trek themed version of Mozart’s Abduction From the Seraglio. She is thrilled to be reprising the role of Blondie at the beautiful Ford Amphitheater!

Phil Meyer’s opera repertory consists of Bad Guys, Old Guys and Funny Guys.  For the Pacific Opera Project, Phil has played the alcoholic Impresario in Donizetti’s Viva la Mamma (Funny Guy); a narcoleptic Pistola in Falstaff (Funny Guy); the title role in Sweeney Todd (Bad Guy); Osmin in the Star Trek themed The Abduction from the Seraglio (Old Guy/Funny Guy/Bad Guy); PooBah in The Mikado (Funny Guy); Sam in Bernstein’s Trouble in Tahiti, (Bad Guy) and Basilio in ­The Barber of Seville (Pathetic Old Guy).  Other leading roles in Los Angeles include King Filippo in Don Carlo with the LA Met (Old Guy); Mephistopheles, in Center Stage Opera’s Faust (the Baddest Guy); Kecal in The Bartered Bride (Old Guy) and Achilla in Giulio Cesare (Bad Guy) with the Celestial Opera; and Leporello in Don Giovanni (Funny Guy), Olin Blitch in Susannah (Bad Guy) and the title role in Verdi’s Falstaff with the Repertory Opera Company (Old Guy/Funny Guy/Kinda Bad Guy).   


In his spare time, Phil directs an HIV education program for medical professionals at Charles Drew University, runs a small non-profit that implements HIV prevention and services in the Rwandan and Angolan militaries, teaches in the School of Social Work at USC, and is a clinical social worker and psychotherapist in private practice.    

An actor with tremendous range, Gregg has played just about every role imaginable, from a cigar chomping Cupid, to prospector, to sea captain, to business man, to pastor, to zombie!   On television, he has appeared on the soap operas Days of our Lives, General Hospital and Generations, as well as portraying courtroom bailiff Officer Collins for the last two seasons of Santa Barbara. In his over forty-five years of performing theatrically, Gregg has worked all across the Western US, including originating the role of Brigham Young in the outdoor musical ‘Utah!’  In Las Vegas, his characterization of Col. Gorak at Star Trek: The Experience made such a splash it inspired a character in an episode of South Park.  In the cinematic realm, Gregg can be found in the tongue-in-cheek new horror classic The Last Lovecraft: Relic of Cthulhu, playing the iconic Captain Olaf and will be co-starring in Cidonia Productions upcoming feature “The Cabin”.  Gregg is a proud member of MENSA , Actors Equity and SAG/AFTRA.


Slave Girls collected from around the galaxy:


Tyler Azelton, Emme Bartlett, Devi Bhatti, Kerrie Caldwell, Melinda Ehrlich, Natalia Ferreiro, Jenna Friedman, Mallory Gantner, Jessica Gonzalez-Rodriguez, Aumna Iqbal, Ali Johnson, Elizabeth Kerstein, Amy Lawrence, Rachel Li, Lena Marandi, Jessie Massoudi, Karen Sarames, Aubrey Scarr, Jamie Tarpo, Jennifer Weiss, Mary Zastrow


Their Klingon captors:



Joel Balzun, Michael Bannett, Daniel Charleston, Colin Gibson, Bill Grundler, Brian Jackson, Kyril Kasimoff, Elias Scarr, Todd Szabo, Scott Ziemann



photos by martha benedict 

  production pictures



Tickets $23-60 

All seating is assigned:


VIP Seating $60

Tier 1 $43

Tier 2 $33

Tier 3 $23







Or call the Ford box office at 323-856-5793.


Email the Ford at boxoffice@arts.lacounty.gov 


For general inquiries call POP at 323-739-6122

The Ford offers intimate seating in a beautiful natural setting, perfect for gathering with your favorite people before the show. Party on the terraced entryway and enjoy sweeping views of the Hollywood Hills. Turn your evening at the Ford with friends, family, colleagues or clients into an event.


Take advantage of the Ford's group rate (applicable to Ford Summer Season events only): purchase 10 tickets or more, save 10% and pay only $10 in handling fees per order!


To purchase tickets for your group, add at least 10 tickets to your cart and a 10% discount will automatically be added to any Regular or General Admission tickets. Student and child tickets can apply to the total number of group tickets but will not be further discounted.



The John Anson Ford Theatres are owned and operated by the County of Los Angeles. Located in a 32-acre County regional park, the facility is run through a three-way partnership between the Los Angeles County Arts Commission, the Department of Parks and Recreation and the Ford Theatre Foundation.


The John Anson Ford Theatres complex is one of the oldest performing arts venues in Los Angeles still in use. Each year, the Ford partners with LA County-based arts organizations to present an eclectic season of culturally diverse music, dance, theatre, film and family events.


The John Anson Ford Amphitheatre was built in 1920 as the site of The Pilgrimage Play. The author, Christine Wetherill Stevenson, believed the rugged beauty of the Cahuenga Pass would provide a dramatic outdoor setting for the play. Together with Mrs. Chauncey D. Clark, she purchased this land along with that on which the Hollywood Bowl now sits. A wooden, outdoor amphitheatre was built on this site and the play was performed by noted actors every summer from 1920 to 1929, until the original structure was destroyed by a brush fire in October of 1929.


The present theatre, constructed of poured concrete and designed in the style of ancient Judaic architecture to resemble the gates of Jerusalem, was built on the same site and opened in 1931. The Pilgrimage Play was again performed here until 1964, interrupted only by World War II. In 1941 the land was deeded to the County of Los Angeles. The Pilgrimage Play continued to be presented until a lawsuit in 1964 forced its closure because of its religious nature.


In 1976, the Pilgrimage Theatre was renamed the John Anson Ford Theatre in honor of the late LA County Supervisor's significant support of the arts. John Anson Ford (1883-1983) helped found the Los Angeles County Arts Commission, encouraged the Board of Supervisors to support the building of The Music Center and led the County's acquisition of Descanso Gardens, among many other achievements. The theatre was used intermittently for Shakespearean theater, jazz concerts and dance performances until former County Supervisor Ed Edelman revived the historic theatre, spurring the creation of the Ford Amphitheatre summer season (originally called "Summer Nights at the Ford") in 1993 and obtaining funding for capital improvements to the facility.


A program of the Los Angeles County Arts Commission, the Ford summer season was designed to enable Los Angeles County music, dance and theatre groups to produce successfully in a major venue. Unlike a typical presenting model, groups and producers are selected through a competitive application process and receive front of house, production and marketing support, while keeping the bulk of the box office proceeds. From that first summer series in 1993, the program has blossomed, supporting hundreds of local arts organizations and producers over the years.


Today, the Ford Theatres are dedicated to presenting a diverse roster of events representing music and dance styles reflective of the communities that comprise Los Angeles County. In addition to its multidisciplinary summer season, the Ford presents interactive participatory arts events at its amphitheatre in Hollywood and at public sites across the County, making it a hub where Angelenos can experience genuine LA.



Find complete details on the Ford site HERE.



 The Ford grounds open for preshow picnicking two hours prior to the performance. Concessions are available onsite by cash or credit card or you can bring your own food and beverage (wine and beer are permitted) for preshow picnicking in the terraced entryway or snacking in your seat during the performance. Please note that that there are no tables in the amphitheatre and that all picnic coolers, baskets, etc. need to be small enough to fit under your seat so as not to block any walkways.





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