music extracted from the opera's third act requiem before its premiere. The work was presented in London as part of the Maida Vale Concerts series in 2002, performed by the BBC Symphony. In February 2015, a new semi-staged concert version drawn from the entire opera was presented in Melbourne, Australia, directed by Cameron Lukie, and again in Sydney in 2016. Hopper’s Wife Wallace and Korie's next opera, the three-character ninety-minute Hopper's Wife, imagines Josephine Hopper, wife of painter Edward Hopper, transformed into the gossip columnist Hedda Hopper. Of its premiere at Long Beach Opera in 1997, music critic Mark Swed wrote in The Los Angeles Times, "Korie offers exciting images and horribly crude ones side by side; clever rhymes intentionally confuse smut with art. Brave, bold and important." Art in America said that the production "made a case for opera as a genuinely adult art form able to confront and decry the current 'dumbed-down' state of American culture." In 2016, the newly revived New York City Opera selected the opera for its inaugural season, producing the work's East Coast premiere at Harlem Stage in a production conducted by James Lowe and directed by Andreas Mitisek. Doll Concurrent with his work in opera, Korie began a collaboration in musical theater with composer Scott Frankel. Their first work, Doll, dramatized painter Oscar Kokoschka's fetishistic love for a life-sized, functioning doll modeled after Gustav Mahler's widow Alma Mahler. Doll was awarded the Richard Rogers Development Award in 1994. It was developed at the Sundance Musical Theater Lab, and was staged in 2003 at Chicago's Ravinia Festival, directed by Lonny Price, with a cast featuring Michael Cerveris and David Hyde Pierce. Grey Gardens The team's best-known work, Grey Gardens, is the first musical to have been based on a documentary—the Albert and David Maysles documentary of the same name. With a book by playwright Doug Wright, Grey Gardens expanded upon the period documented in the film — Little Edie and Big Edie Beale living in a crumbling and decrepit mansion in East Hampton — by adding a hypothesized first act which imagined the engagement reception of Little Edie and Joseph Kennedy, Jr., at the mansion in its heyday thirty years before. Of making a musical out of a documentary, Korie was quoted as saying, “unlike in a movie, in the theater there are no close-ups. Music and lyrics provide an actor with the equivalent