Encorethe Performing Arts Magazine Altria 2006 ~ Ext Wa \Le Eesllilal

Total Page:16

File Type:pdf, Size:1020Kb

Encorethe Performing Arts Magazine Altria 2006 ~ Ext Wa \Le Eesllilal October 2006 2006 Next Wave Festival *~ ...."""......,...<... McDermott & McGough, THIS IS ONE OF OUR FAVORITE PAINTINGS, 1936/2005 BAM 2006 Next Wave Festival is sponsored by: ENCOREThe Performing Arts Magazine Altria 2006 ~ ext Wa \Le EeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Mycenaean Written and directed by Carl Hancock Rux Approximate BAM Harvey Theater running time: Oct 10, 12-14, 2006 at 7:30pm one hour and 30 minutes, Writer/director/music Carl Hancock Rux no intermission Lighting/sound design, co-video design Pablo N. Molina Co-video design, music, programming Jaco van Schalkwyk Mask design, co-scenic design Alison Heimstead Co-scenic design Efren Delgadillo Jr. Costume coordination Toni-Leslie James Dramaturgy Morgan Jeness BAM 2006 Next Wave Festival is sponsored by Altria Group, Inc. Music programming at BAM is made possible by a generous grant from The New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors. Leadership support for BAM Theater is provided by The Shubert Foundation, Inc., with major support from SHS Foundation, Francena T. Harrison Foundation Trust, Harold and Mimi Steinberg Charitable Trust; and additional support from Billy Rose Foundation, Inc. Mycenaeaol..--- _ Cast Carl Hancock Rux Racine/Hippolytus Helga Davis Arachne Patrice Johnson Aricia Tony Torn Daedalus David Barlow Video Documentarian Ana Perea Dream Theorist Darius Mannino Dreamer/Soldier/Phillippe Celia Gorman Dreamer/Naiad/Nathalie Christalyn Wright Dreamer/Naiad Marcelle Lashley Dreamer/NaiadlWoman Niles Ford Dreamer/Soldier/ Minotaur Paz Tanjuaquio Dreamer/Naiad Kelly Bartnik Dreamer/Naiad Production Producer Carl Hancock Rux Executive Producers Stephen M. Cohen, Patrick Synmoie Associate Producer/Company Manager Greg Lucas Production Manager Pablo N. Molina Stage Manager Ginger Castleberry Additional production credits Associate Sound Design Jeffrey Teeter Associate Lighting Design Christopher Kuhl Technical Coordinator Alain Jourdenais Mask Fabrication Brenda Gausch Movement Coach Christalyn Wright Vocal Coach/Arranger Helga Davis The cast and production team of Mycenaean gratefully acknowledges the generous production support of the faculty and staff of the California Institute of the Arts ("CaIArts"): Steven D. Lavine, President; Travis Preston, Artistic Director, Center for New Performance; Erik Ehn, Dean, School of Theater; Marissa Chibas, Head of Acting; and Christopher Barreca, Head of Design. We greatly appreciate the additional production support of The South Orange Performing Arts Center (South Orange, New Jersey), Karin Coonrod, Joy Tomasko, Jeanette Yew, Kevin Goold, Joshua Fleitel, Cosmo's Modern Vintage Furniture, and Moon River Chattel Architectural Salvage. Mycenaean was commissioned by the Washington Performing Arts Society and presented at the National Geographic's Grovesnor Auditorium in the fall of 2004. It was presented in various stages of its development under the direction of Rux at: The Bowery Poetry Club, HERE Arts Center, BRIC Studios/651 Arts (NYC), Massachusetts Museum of Contemporary Art (North Adams, MA), and Pillsbury Playhouse (Minneapolis, MN). It was subsequently presented as a work-in-progress at the TBA Festival of the Portland Institute of Contemporary Arts, and University of North Carolina, Chapel Hill, as directed by Karin Coonrod. Two workshops were conducted under the direction of Rux at the Center for New Performance at CalArts. Wbo's Wboc...>oooL- _ Carl Hancock Rux is a multi-disciplinary writer and performing artist working in the fields of theater, fiction, poetry, and music. Rux is the author of several books including the Village Voice Literary prize-winning poetry collection, Pagan Operetta (Fly By NighVAutonomedia Press); the OBIE award-winning play Talk (TCG Press); and the novel Asphalt (Atria/Simon &SchusterlWash­ ington Sq. Press paperback). Rux is the Afro­ Diasporic resident artist at the Carnival Center for the Performing Arts (Miami) where he is writing and developing Makandal, with composer Daniel Bernard Roumain and visual artist Edouard Duval Carrie. The Richard B. Fisher Center for the Performing Arts at Bard College (Annandale­ on-Hudson) received a 2006 Rockefeller grant to commission Rux's The Blackamoor Angel, a new opera in three acts based on the life and macabre death of ex-slave Angelo Soliman-royal tutor, member of the elite in 18th century Vienna, companion of Mozart and Holy Roman Emperor Joseph II, and Grand Master of the Masonic Lodge. As a recording artist, Rux's critically ac­ claimed debut CD, Rux Revue (Sony Music), was voted one of the top ten alternative music CDs Residence fellowship, NEA Leadership Initiatives of 1998 (The New York Times). His sophomore Meet the Composer Grant, the Kitchen Theater CD release, Apothecary Rx, is available on Giant Artist Award, Rockefeller MAP grant, Creative Step Records, and his 2006 release, Good Bread Capital Artist grant (Artist Initiative/Artist SupporV Alley, is now available on Thirsty Ear Records. Addt'l support), the Bessie Schomburg Award, He has toured extensively throughout the U.S. New York Foundation for the Arts Gregory Millard and abroad in his own performance works and as fellowship, NYFA Prize, Herb Alpert Award in the principal performer in the Robert Wilson/Bernice Arts (CaIArts), and Brooklyn Arts Exchange (BAX) Johnson Reagon opera, The Temptation of St. 10 Arts & Artists in Progress Award. Rux is Head Anthony. He has been commissioned to write of the Writing for Performance MFA program at and perform his text in collaboration with several CalArts. dance companies, including the Alvin Ailey American Dance Theater, Urban Bush Women, Jaco van Schalkwyk received his BFA in drawing Jane Comfort &Co., Bill 1. Jones/Arnie Zane from Pratt Institute, Brooklyn. He has collaborated Dance Co., and Marlies Yearby's Movin' Spirits, with Rux in creating the video component for among others. A frequent radio essayist and guest Mycenaean since its inception, and has been host (xm radio's The Bob Edwards Show; WNYC involved with the development of Mycenaean Soundcheck) Rux co-wrote and narrated the NPR at CalArts over the past two years. In addition, radio documentary, "Walt Whitman: Songs of My­ he has created video and music for multi-media self," recipient of the 2006 New York Press Club readings of Rux's novel, Asphalt, at such venues Journalism Award for Entertainment News. Rux as Mass MoCA, the Detroit Institute for the Arts is a recipient of the Village Voice Literary Prize, REDCAT, and its South Africa tour (Durban, Ca~e­ Fresh Poet Award, National Endowment for the town, Johannesburg). Van Schalkwyk served as ArtslTheater Communication Group Playwright in laptop musician for performances of Rux's sopho- Who's Wbl......3llollE-o _ more album Apothecary Rx at various venues her last year of studies at CalArts, where she is including Central Park SummerStage; Der Singel pursuing an MFA in Stage Management. music festival in Antwerp, Belgium; Amsterdam, the Netherlands; and the Sons d'Hiver music Toni-Leslie James' costume design includes festival in Paris. Van Schalkwyk contributed pro­ Lincoln Center: House of Bernarda Alba, Elegies, gramming and co-composition for several songs Marie Christine, A New Brain, God's Heart, on Good Bread Alley, Rux's latest album released Chronicle of a Death Foretold, and Hello Again. on Thirsty Ear Records. In addition to his work Broadway: Ma Rainey's Black Bottom, One Mo' for the stage, van Schalkwyk has art-directed Time, King Hedley II, Footloose, The Tempest and video-edited various projects with NY-based (Drama Desk nomination), Twilight: Los Angeles advertising agency, Idealogue, for clients such 1992, Angels in America, and Jelly's Last Jam as Adidas and Miss Sixty, most notably the (American Theatre Wing Award, Tony and Drama Adidas Fanatic series, and the recently acclaimed Desk nominations). Other venues include The adicolor podcast film series. In the past, he has Public Theater, Second Stage, City Center En­ art-directed for Oscar Blandi, Vincent Longo, and cores!, Circle Rep., Hartford Stage, The Goodman Anand Jon. Van Schalkwyk is currently building Theatre, The Mark Taper Forum, Seattle Rep., Ceramic Studio, an audiovisual production studio Berkley Rep., The Long Wharf Theatre, Center in Gauteng, South Africa. Stage, Lyric Opera of Chicago, Houston Grand Opera, and the Huntington Theatre. Television Pablo N. Molina is a Los Angeles-based instal­ and film: Whoopi, As the World Turns, A Huey P lation and stage design artist. He has worked as Newton Story, and A Tale of Two Pizzas. a sound, lighting, video, exhibit, and multimedia design professional for the past eleven years, col­ Alison Heimstead has collaborated with Rux as laborating with Benny Sato Ambush, The Hangar a designer on the development of Mycenaean in Theater, Aimee Michele, Sam Gold, Miziker two earlier workshop performances at CalArts. Entertainment, Noah Haidle, Stephan Knuesel, Her masks have traveled with the production Rachel Boggia, COSI, The Bebe Miller Company, , to the TBA Festival/PICA, and the University of High Jinks Dance, and Marie Sester. He is cur­ North Carolina, Chapel Hill. Her recent collabo­ rently in his last year of studies at CalArts, where rations include: scenic design and large kinetic he is pursuing an MFA in Design and Production lantern design
Recommended publications
  • Feast Your Famine
    Feast Your Famine: a watch-and-play​ is an interactive five-night performance-and-social-action hybrid event, re-envisioning the legacy of the "hero" in Western culture from medieval knights to today and seeking to practice new realities in community. With possibilities for multi-day game play or a single night's experience, audiences can join a diverse body of artists and activists in a journey of boundary crossing, soul-troubling, and action through both avant garde and traditional performances and social-action events -- set inside the framework of a re-imagined medieval feast. For details on the schedule and the presenters, please visit the ​Feast Your Famine​ website and follow the event on Instagram @feastyourfamine. This event is a result of Wistaria Project's Re-Residency, in which we "re-gift" the Performing Artist Residency we received from The Center at West Park to an exciting diversity of performers and activists. Each Re-Resident will present their work on one night of the festival. The Re-Resident Cohort has worked together to devise First Night and Last Night -- the opening and closing of the feast -- with interactive, hybrid performance/events to bring us together to imagine, engage, and take action here and now. Wednesday, November 13. FIRST NIGHT​ ​An interactive event inside a re-invented, justice-oriented medieval “feast”, created by the Re-Residents. Songs. Poetry. Activities. Quests. Re-Residents Mz Aza Metric Eric Farber Dhira Rausch Hee Ran Lee Jace Valentine ​(​IntegrateNYC​) Kelsey Pyro Monica Carillo Timothy Craig Wistaria Project Zafi Dimitropoulou Liquid Courage ​written by ​ ​Kevin Green​ ​(Black Revolutionary Theater Workshop) Kevin Green is a Brooklyn-based actor/writer/producer.
    [Show full text]
  • News of the Strange
    Target Margin Theater 232 52nd Street Brooklyn, NY 11220 718-398-3095 Targetmargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf General Manager: Liz English Space Manager: Kelly Lamanna Arts Management Fellow: Frank Nicholas Poon Box Office Manager: Lorna I. Pérez Financial Consultants: Michael Levinton, Patty Taylor Graphic Designer: Maggie Hoffman Interns: Sarah McEneaney, Matt Hunter Press Representation: John Wyszniewski/Everyman Agency BOARD OF DIRECTORS NEWS OF THE Hilary Alger, Matt Boyer, David Herskovits, Dana Kirchman, Kate Levin, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. STRANGE LAB ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays inspired by history, literature, and other art forms. In our new home in Sunset Park we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. TMT PROGRAMS INSTITUTE The Institute is a year-long fellowship (January – December) that provides five diverse artists space, support and a $1,000 stipend to challenge themselves and their art-making practice. 2019 Fellows: Sarah Dahnke, Mashuq Mushtaq Deen, Yoni Oppenheim, Gabrielle Revlock, and Sarah K. Williams. ARTISTS-IN-RESIDENCE The Artist Residency Program provides established, mid-career and emerging artists up to 100 hours of dedicated rehearsal and developmental space. Each residency is shaped to meet the specific needs of each artist and will include a work-in-progress free to the public. 2019 Artists-in-Residence: Tanisha Christie, Jesse Freedman, Sugar Vendil, Deepali Gupta, Sarah Hughes, and Chana Porter. SPACE RENTALS THE DOXSEE THEATER Our SPACE program provides long term / short term studio nd space for all artists to gather and engage in their creative / 232 52 Street, BK 11220 cultural practices.
    [Show full text]
  • View the Program!
    cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley.
    [Show full text]
  • Elevator Repair Service
    ELEVATOR REPAIR SERVICE ABRONS ARTS CENTER A CONVERSATION BETWEEN JOHN COLLINS AND KATE SCELSA Kate Scelsa: So, John! John Collins: Kate, you’ve worked as a company member with ERS for about sixteen years now…And it turns out that you were doing stealth research for all these years on what would be perfect parts to write for some of our actors. KS: This is going to sound very sentimental, but writing this play has really felt like a love letter to this company. So it’s that, combined with my very deep love for Edward Albee’s play and specifically for the character of Martha. JC: And it’s exciting for me because I’m getting to work with one of my favorite novelists, who wrote one of my favorite books of the past couple of years. KS: Thank you for that plug. JC: It also fits in really nicely with the shows you’ve worked on with us, taking another work of great American literature as a jumping off point. And looking at the parts you’ve played in ERS shows, there have been a lot of Marthas in your life. KS: I’ve always been very interested in whether or not embodying that kind of female rage could be seen as sympathetic. Even powerful. Or if those women just become the shrew. Which means their rage can be dismissed. JC: Well you take Martha, who’s an extreme character… KS: She doesn’t care what anyone thinks of her. But what are the consequences of that attitude? For most of Albee’s play we see Martha as this incredible feminist character, in that she and her husband are on equal footing, and that’s what makes it so fascinating to watch, and fun to play.
    [Show full text]
  • Annual Report
    EMPOWERING NEW YORK CITY GIRLS THROUGH THE ARTS ANNUAL REPORT SEPTEMBER 2014 — AUGUST 2015 vI E ANNUAL rEPOrT IDE SEPTEMBER 2014 — AUGUST 2015 INS DearAs you look viBeback on our Community, 2014-2015 fiscal year, I hope you will enjoy PROGRAMS reflecting on all of the progress viBe Theater Experience has made over these last twelve months. We are very proud to have served our girls through our unique and comprehensive programming 3-4 that provides them with the nurturing necessary to help them findB their individual voices and then courageously share those stories with all of us. VIBE GIRLS When I took the seat of Board Chair in September, my goal was to SPEAK build viBe’s internal capacity so that we are positioned to leverage all of our resources – human and fiscal – to best serve our girls. To that end, we welcomed new board members who have brought critical 5 professional and administrative skills to our governing efforts. We also brought in new volunteers to the viBenefit Committee who worked tirelessly to ensure that our annual fundraiser was once again a huge success. Finally, we instituted a new SPECIAL membership model designed to increase support and encourage our donors to stay EVENTS engaged with our work. As we enter into the 2015-2016 fiscal year, we look forward to continuing to provide meaningful and transformative opportunities for our viBe girls. As Chair, I also look forward 5-6 to building on the Board’s efforts; truly a “working board,” we will continue to strategically align our committee work to support and grow our fundraising and programming efforts.
    [Show full text]
  • BY ROBIN FROHARDT Wednesday, June 30 - Sunday, July 11, 2021 661 Imperial Street ART MATTERS NOW MORE THAN EVER
    Photo by Maria Baranova BY ROBIN FROHARDT Wednesday, June 30 - Sunday, July 11, 2021 661 Imperial Street ART MATTERS NOW MORE THAN EVER WELCOME TO UCLA’S CENTER FOR THE ART OF PERFORMANCE UCLA’s Center for the Art of Performance (CAP UCLA) is the public facing research and presenting organization for the performing arts at the University of California, Los Angeles—one of the world’s leading public research universities. We are housed within the UCLA School of the Arts & Architecture along with the Hammer and Fowler museums. The central pursuit of our work as an organization is to sustain the diversity of contemporary performing artists while celebrating their contributions to culture. We acknowledge, amplify and support artists through major presentations, commissions and creative development initiatives. Our programs offer audiences a direct connection to the ideas, perspectives and concerns of living artists. Through the lens of dance, theater, music, literary arts, digital media arts and collaborative disciplines, informed by diverse racial and cultural backgrounds, artists and audiences come together in our theaters and public spaces to explore new ways of seeing that expands our understanding of the world we live in now. cap.ucla.edu #CAPUCLA Photo by Tony Lewis CAP UCLA Presents BY ROBIN FROHARDT Wednesday, June 30 - Sunday, July 11, 2021 661 Imperial Street (DTLA) One store, two ways to experince, hundreds of bags Installation: (Duration 30 mins.) Tue-Fri 2:30PM-5PM (last entry 4:30 PM) Sat & Sun 12:30PM-2PM (last entry 1:30 PM) July 4: Closed July 5: Special hours 12PM-7PM (last entry 6:30 PM) Immersive Film Experience: (Duration 60 mins.) Tue-Fri 1PM & 6PM Sat & Sun 11AM, 3PM & 5PM July 4: Closed Recommended for Ages 12+ due to current health protocols MESSAGE FROM THE ARTIST Dear Most Valued Customers: It’s almost impossible for me to try to explain what it is you are about to experience and the journey it took to get here.
    [Show full text]
  • When Pipsy, a Pedigree Cocker Spaniel, Lands at Bitchfield Animal Shelter, She Becomes the Center of a Turf War Between Dogs & Cats
    LOCKED UP BITCHES by catya mcmullen featuring original music by scott allen klopfenstein directed + choreographed by michael raine performed by the bats FEBRUARY 21 – APRIL 28 wednesdays @ 7PM, thursdays @ 9PM fridays and saturdays @ 11PM TICKETS S15 THE FLEA THEATER NIEGEL SMITH, ARTISTIC DIRECTOR CAROL OSTROW, PRODUCING DIRECTOR PRESENTS THE WORLD PREMIERE OF LOCKED UP BITCHES BOOK AND LYRICS BY CATYA MCMULLEN FEATURING ORIGINAL MUSIC BY SCOTT ALLEN KLOPFENSTEIN DIRECTED AND CHOREOGRAPHED BY MICHAEL RAINE FEATURING THE BATS LACY ALLEN, LEILA BEN-ABDALLAH, XANDRA CLARK, CHARLY DANNIS, JANUCHI URE EGBUHO, PHILIP FELDMAN, KATHERINE GEORGE, ARIELLE GONZALEZ, ALICE GORELICK, ALEX HAYNES, CRISTINA HENRIQUEZ, TIFFANY IRIS, ADAMA B. JACKSON, JENNY JARNAGIN, MARCUS JONES, BRE NORTHRUP, EMMA ORME, JUAN “SKITTLEZ” ORTIZ, JEN PARKHILL, ALEXANDRA SLATER, RYAN WESLEY STINNETT, TANYAMARIA, XAVIER VELASQUEZ, KEITH WEISS, TAMARA WILLIAMS SCOTT ALLEN KLOPFENSTEIN MUSIC DIRECTOR AND ARRANGER KERRY BLU CO-MUSIC DIRECTOR YU-HSUAN CHEN SCENIC AND PROPERTIES DESIGNER EVA JAUNZEMIS COSTUME DESIGNER JONATHAN COTTLE LIGHTING DESIGNER MEGAN DEETS CULLEY SOUND DESIGNER KIMILLE HOWARD AssISTANT DIRECTOR CODY HOM STAGE MANAGER CAST Pipsy ..................................................................................Emma Orme All-Licks ..........................................................................Charly Dannis Crazy Tongue ............................................................ Adama B. Jackson Bull .....................................................................
    [Show full text]
  • Allison Leyton Allison Leyton-Brown
    Allison Leyton-Brown M.F.A., Tisch School of the Arts, NYU – Music Theatre Writing Program (Composition) B.F.A., Concordia University, Montréal – Interdisciplinary Fine Arts F I L M / T V S C O R E S . Episode score and songs for Peg + Cat for PBS. 2013 . Misc. music for 20/20, The Good Wife, Primetime, Good Morning America, ABC’s What Would You Do?, Nightline, Katie, The Nate Berkus Show, etc. Staff writer for 4 Elements Music. ’10 – present. The Bicycle (13 min.) Dramatic short. NY Film Festival, dir. Kari Riely. ’13. Rainy Season (25 min.) Documentary film. Screenings across the US and Europe, dir. Joan Widdenfield. ’11. Meet My Boyfriend (12 min.) Comedy short, dir. J. Ruocco, Manhattan Film Fest. ’11. Little Miss Perfect (series) for WE Network.’09 – ’10. The Cooking Loft (theme) for The Food Network. ’08. Custody (90 min.) Television film for Lifetime TV Network. Score selections. ’07. Millions: A Lottery Story (101 min) Documentary feature, dir. Paul LaBlanc, Palm Beach International Film Fest. Official Selection.’07. Head Case (85 min) Dark comedy feature, dir. M. Wakefield, Rio de Janeiro MIX Festival ’05 & New York City MIX Fest.’03. History of the Movies (1 min) dir. S. Donsky, Coca Cola Young Directors’ Competition National Finalist.’04. The Rest (10 min) dir. D. Franco, RIP Fest. NYC ’03. Dog’s Life (90 min) Dramatic feature, dir. J. Knapich, Telluride Film Festival, Brooklyn Underground Film Fest. ’02. T H E A T R E S C O R E S The Narrowing; recorded instrumental score for 2 pianos, cello & violin, produced by Archipelago Theatre, NC.
    [Show full text]
  • Download Program
    THE FLEA THEATER NIEGEL SMITH ARTISTIC DIRECTOR CAROL OSTROW PRODUCING DIRECTOR PRESENTS THE WORLD PREMIERE OF THE PLACE WE BUILT WRITTEN BY SARAH GANCHER DIRECTED BY DANYA TAYMOR FEATURING THE BATS BRITTANY K. ALLEN, LYDIAN BLOSSOM, TOM COSTELLO, BRENDAN DALTON, TAMARA DEL ROSSO, PHILIP FELDMAN, KRISTIN FRIEDLANDER, CLEO GRAY, RACHEL INGRAM, BEN LORENZ, ASH MCNAIR, SONIA MENA, ISABELLE PIERRE, XAVIER REMINICK, LETA RENÉE-ALAN, TESSA HOPE SLOVIS THE BENGSONS ARRANGEMENTS/MUSIC CONSULTANTS ARNULFO MALDONADO & FELI LAMEncA SCENIC DESIGN MASHA TSIMRING LIGHTING DESIGN CLAUDIA BROWN COSTUME DESIGN BEN TRUPPIN-BROWN SOUND DESIGN MARTE JOHAnnE EKHOUGEN PUPPET DESIGN ZACH SERAFIN PROPS MASTER ALEX J. GOULD FIGHT CHOREOGRAPHY JOCELYN CLARKE DRAMATURG CHARISE GREENE VOICE/DIALECT COACH BECKY HEISLER ASSOCIATE LIGHTING DESIGN IzzY FIELds COSTUME ASSISTANT JAKE BECKHARD ASSISTANT DIRECTOR TZIPORA REMAN STAGE MANAGER KAILA HILL ASSISTANT STAGE MANAGER BRADLEY MEAD/WIIDE GRAPHIC DESIGNER RON LASKO/SPIN CYCLE PRESS REPRESENTATIVE CAST Aniko ..........................................................................Leta Renée-Alan Julia ......................................................................................Cleo Gray Kata ....................................................................... Kristin Friedlander Szuszanna ................................................................... Lydian Blossom Aisha ............................................................................ Isabelle Pierre Ilona .........................................................................Tamara
    [Show full text]
  • Full Cast & Credits
    DANSPACEPROJECT40 YOU MAKE THE DIFFERENCE. Help us celebrate 40 years of Danspace Project! Donate at danspaceproject.org/supportjoin ABOUT DANSPACE PROJECT Founded in 1974, Danspace Project presents new work in dance, supports a diverse range of choreographers in developing their work, encourages experimentation, and connects artists to audiences. Now in its fourth decade, Danspace Project has supported a vital community of contemporary dance artists in an environment unlike any other in the United States. Located in the historic St. Mark’s Church in-the-Bowery, Danspace shares its facility with the Church, The Poetry Project, and New York Theatre Ballet. Danspace Project’s Commissioning Initiative has commissioned over 450 new works since its inception in 1994. Danspace Project’s Choreographic Center Without Walls (CW²) provides context for audiences and increased support for artists. Our presentation programs (including Platforms, Food for Thought, DraftWork), Commissioning Initiative, residencies, guest artist curators, and contextualizing activities and materials are core components of CW² offering a responsive framework for artists’ works. Since 2010, we have produced eight Platforms, published eight print catalogues and five e-books, launched the Conversations Without Walls discussion series, and explored models for public discourse and residencies. FOLLOW US! Facebook: Danspace Project Instagram: DanspaceProject Twitter: @DanspaceProject Tumblr:danspaceproject.tumblr.com www.danspaceproject.org BE FIRST. Join us in celebrating 40
    [Show full text]
  • The Forty-First Annual Region III Festival 2009 Illinois, Indiana
    The Forty-first Annual Region III Festival 2009 ynes H Jason Jason : y b esigned D Illinois, Indiana, Michigan, Ohio, Wisconsin January 6 to 11, 2009 Hosted by Saginaw Valley State University Presented and Produced by The John F. Kennedy Center for the Performing Arts The Kennedy Center American College Theater Festival is sponsored by Delta Air Lines Additional support is provided by: The U.S. Department of Education Dr. and Mrs. Gerald McNichols The Laura Pels International Foundation The Kennedy Center Corporate Fund The National Committee for the Performing Arts Region III 41st Kennedy Center American College Theater Festival 1 2009 Festival Productions The Seagull by Anton Chekhov, translated by Jean-Claude van Itallie Purdue University Chekhov’s monumental masterpiece of unrequited love, failed ambition and the changing face of Russian theatre is presented here within a theatrical world of heightened realism and vivid metaphor. Mobile aquariums, the color TV of 1890’s Russia, white period furniture floating on a high gloss black floor, cascading light bulbs, a heightened Edwardian fashion sensibility and Gypsy music all pay homage to Chekhov’s own desire to have symbol and metaphor more fully represent the world of his plays. FRIDAY, JANUARY 9 8:00 PM Temple Theatre How I Learned to Drive The Trojan Women by Paula Vogel by Euripides, adapted by Ellen McLaughlin University of Michigan-Flint Oakland University “How I Learned to Drive” unfolds with all the slow motion clarity of an impend- The Women of Troy struggle with the aftermath of war and destruction of ing car crash as we witness the social dynamic that exposes a young girl to the sys- their beloved homeland.
    [Show full text]
  • Pieces of the Body, Shards of the Soul: the Martyrs of Erik Ehn
    Pieces of the Body, Shards of the Soul: the Martyrs of Erik Ehn A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Rachel E. Linn May 2015 © 2015 Rachel E. Linn. All Rights Reserved. 2 This dissertation titled Pieces of the Body, Shards of the Soul: The Martyrs of Erik Ehn by RACHEL E. LINN has been approved for Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Interdisciplinary Arts Margaret Kennedy-Dygas Dean, College of Fine Arts 3 ABSTRACT LINN, RACHEL E., Ph.D., May 2015, Interdisciplinary Arts Pieces of the Body, Shards of the Soul: Erik Ehn's Martyrs Director of Dissertation: William F. Condee This dissertation demonstrates that theatre has had a longstanding interest in the possibility of one object changing into another through miraculous means. Transubstantiation through art has occupied Western theatre from its roots in the medieval period. Contemporary theatre holds on to many deep-rooted assumptions about the performing body derived from medieval religious influence, both consciously and unconsciously. This influence is more pronounced in certain writers and artists, but it manifests itself as a lingering belief that the body (living and dead) is a source of power. This dissertation finds religious influence and an interest in the performing body’s power in the martyr plays of Erik Ehn. According to theologians like Andrew Greeley and art scholars like Eleanor Heartney, artists associated with the Catholic Church show an especially keen fascination with the body as a sacred object.
    [Show full text]