Alice Muitoevoli Rugai

Queen Eliza and her maid of honour Charlotte have a small problem: Eliza has ‘decapitated’ the king, metaphorically, she says, but the severed ‘head’ bleeds in Eliza's hands and has to be quickly hidden in the harpsichord. Eliza and Charlotte want to be free, to be together. They want the ‘crown’ so that they can 'rule' together. However, they only want this in a metaphorical sense, because they reject the monarchy. So they await their fate in Eliza's chambers until the regicide is discovered. They revel in nostalgia for the story of how they met. They indulge in sensually tender duets – including at the harpsichord. They engage in passionate debates until time runs out and they have to appear before the people ‘Queer in Choir’.
Alice Muitoevoli Rugai composes a queer period drama with harpsichord, which swings lustfully between deep sensuality and exuberant playfulness. The historical examination of bi-erasure and bi+ visibility merges with bloody neologisms to create a powerful new definition of the baroque piece.