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Showing posts with label Jennine Willett. Show all posts
Showing posts with label Jennine Willett. Show all posts

Saturday, July 8, 2017

Go backstage with the haunted "GHOST LIGHT"



Every exit is an entrance somewhere.
--Elizabeth Carena in GHOST LIGHT

Tumbling down Third Rail Projects' rabbit hole and through their looking glass in the Bessie-winning Then She Fell has long been my most cherished experience of this magical company. But now comes GHOST LIGHT, a worthy challenger, with the immersive dance/theater troupe smoothly roaming the innards of Lincoln Center's Claire Tow Theater, the hidden workings of a show and the psyches of some theater folk who remain unaware that they left their mortal bodies quite some time ago.

Well, the show must go on!

Yes, this work really puts the ghosts in "ghost light," that convention of leaving one light--a single bulb in a wire cage--burning on an unused, darkened stage. As we follow various players through stairwells and a warren of backstage spaces, we eye characters from multiple, imaginative viewpoints--gazing down at them from balcony or stair railings, glancing sideways from the wings at a rehearsal, tucked at the end of a corridor as actors and stagehands dramatically, distractedly and hectically dash in and out of doors with minutes to showtime. That last bit, by the way, is a brilliant farce of fluid, split-second coordination of people and props--a signature for co-directors/choreographers Zach Morris and Jennine Willett. Supported by an excellent collaborative cast and creative team, these two have outdone themselves.

For fans who love the fascinating thingy-ness of TRP's productions--the busy, often quaint decor that colors and flavors their unusual sites--the wonderful set designer Brett J. Banakis has got you covered. But don't expect to have much time to linger and study these intricate visual details. Except for some props you might be handed from time to time, you will mostly be focused elsewhere or hustled past stuff. You will be distracted by noises and voices and music from unseen sources. Two intermission-less hours will fly by as fast as some of this theater's specters.

One character--I think it was the wistful, elegantly-coiffed actress played by Jessy Smith--pondered the possibility that people who have died are truly gone only when no one's left who remembers them. Insight into characters is the least original or interesting aspect of this work; Morris's writing isn't nearly as dreamily graceful or as daring as his and Willett's movement ideas can be. But I did take note of this particular statement and its broader implications.

How often do we encounter a work of art and wish we could make that experience stay with us forever? Keep it fresh, maybe share it--just as we received it--with others? (Why I write....) GHOST LIGHT, in its way, pays tribute to the art and artists passing through our lives, people whom we only think we know and whom we can't hold onto--except in memory. Yes, a wealth of technology can document these artists and the work they do. But, really, human-to-human, heart-to-heart, all of it filtered through your senses and sensibilities, embraced by memory, passed down to others--that is how culture has always been preserved and lovingly transmitted, even if imperfectly.

Cast: Donna Ahmadi, Cameron Michael Burns, Elizabeth Carena, Alberto Denis, Joshua Dutton-Reaver, Julia Kelly, Roxanne Kidd, Josh Matthews, Rebekah Morin, Marissa Nielsen-Pincus, Tara O'Con, Edward Rice, Jessy Smith, Niko Tsocanos, Carlton Cyrus Ward and Ryan Wuestewald

Original music and sound: Sean Hagerty

Co-composer: Isaiah Singer

Collaborating musicians: Craig Akin, Nick Auer, Johnny Butler, Mike Lunoe, Ben Magnuson, Alicia Rau, Isaiah Singer

Sets: Brett J. Banakis

Illusion design: Vinny DiPonto

Costumes: Montana Levi Blanco

Lighting: Eric Southern

GHOST LIGHT's stated end date is August 6. However, if this show is anything like previous TRP productions, it will have extended life by demand--and it should. Come out of the New York summer heat; the A/C's fine! For general information on GHOST LIGHT, click here. For important audience guidelines, click here. For tickets, click here. Don't be late!


Claire Tow Theater
Lincoln Center Theater
150 West 65th Street, Manhattan
(map/directions)

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Friday, February 5, 2016

Welcome to Paradise!

Displaying 3-TaraOCon_JoshuaReaverphotobyDarialSneed.jpg
Scene from The Grand Paradise,
the new production from award-winning Third Rail Projects
(photo: Darial Sneed)
Displaying 10+Elizabeth+Carena.jpg
Elizabeth Carena plays The Siren
in The Grand Paradise.
(photo: Joshua Reaver)

The Grand Paradise--the sexy new confection from Third Rail Projects of Bessie-winning Then She Fell fame--takes place in a cleverly simulated tropical resort. For two hours, "vacationers" get to drift from room to room watching and engaging with a cast of saucy characters in search of the Fountain of Youth.

Immersive physical theater in quirky, lavishly re-designed locations has become TRP's specialty, and the directorial team of Zach Morris, Tom Pearson and Jennine Willett ground it all in dance. Performers clamber all over high and dicey surfaces like mountain goats and handle one another's bodies with gleeful audacity. Dreamy, often ecstatic movement sequences, performed in tight quarters, vie with more intimate, semi-private interludes between resort guests and characters for offering the most delight.

Unlike another critic, I refuse to divulge every last detail of this paradisiacal experience. You should come to The Grand Paradise fairly fresh. A little shyness or bemusement is okay, too. You'll be well taken care of, sweetly so.

Really, it's all for you--the piped-in '70s-style lounge music, the mystery beverages (which can be declined), the self-help advice about setting sail for your "geography of desire." At the core of all the breathless phenomena and bustle is a genuine, and quite gentle, invitation to free your mind--or your ass, as Funkadelic would have it, which will serve up the same result. Whether you find the means of delivery provocative and motivational or hokey depends upon you.

Like Then She Fell (still running), The Grand Paradise might end up running and running and running some more, but the stated end date is March 31. Get all information, schedule and tickets here.

The Grand Paradise
383 Troutman Street (near Jefferson Street station), Brooklyn
(map/directions)

Wednesday, August 27, 2014

Falling for "Then She Fell"

Rebekah Morin as Red Queen in Then She Fell
(photo: Adam Jason Photography)

Life, what is it but a dream? 
--Lewis Carroll, from Through The Looking Glass

Then She Fell by Third Rail Projects--that critically-acclaimed, Bessie-winning work of site-specific, immersive theater--has had its run extended through December 28. I almost missed this captivating experience but made up for that unfortunate lapse last night on the occasion of my birthday. What better way to acknowledge the thrill and scariness of a time of transition than to tumble down the rabbit hole with Alice and wander a dreamy looking-glass realm of atmospheres, by turns, sensuous, spooky, troubling and volatile.

Written, directed, designed and choreographed by TRP's artistic directors--Zach Morris, Tom Pearson and Jennine Willett--Then She Fell boasts a brilliant team of collaborators and cast members. And you. If you will.

Space is extremely limited. For schedule information, instructions (read them carefully) and ticket reservations, click here.

The Kingsland Ward @St. John's
195 Maujer Street (between Graham Avenue and Humboldt Street), Williamsburg, Brooklyn. Two blocks from the L train/Grand Street station
(map/directions)

Wednesday, April 9, 2014

Third Rail Projects and two good eggs in midtown

Third Rail Projects presents Yolk
(c)2014, Eva Yaa Asantewaa
The egg--the pre-Christian, springtime symbol of regenerated life and hidden goodies--gets a new twist in Yolk. The sensuous, mysterious dance installation, unfolding over just one half hour, is the latest site-specific piece by Third Rail Projects, the award-winning team of Zach MorrisTom PearsonJennine Willett (Looking GlassThen She Fell). 

View from midtown's Grace Plaza
(c)2014, Eva Yaa Asantewaa
It's nearly Easter, sure. But those eggs?
(c)2014, Eva Yaa Asantewaa
Go to midtown's Grace Plaza (1114 Avenue of the Americas at 43rd Street) at either 12:30pm or 1:10pm tomorrow, and you'll find two large, gleaming white eggs set atop elegant black-draped pedestals. Inside the eggs, dancers Roxanne Kidd and Jessy Smith move slowly, dreamily tumbling and undulating as if protected by an amniotic sac, and run their hands over the eggs' red felt lining. No Easter bunny in sight, but keep watch for a few surprises along the way. A meditative and beguiling way to spend your lunch hour!

Google Map/Directions

Roxanne Kidd in Yolk
(c)2014, Eva Yaa Asantewaa
Jessy Smith in Yolk
(c)2014, Eva Yaa Asantewaa
(c)2014, Eva Yaa Asantewaa
(c)2014, Eva Yaa Asantewaa
(c)2014, Eva Yaa Asantewaa
(c)2014, Eva Yaa Asantewaa
For news of other free events presented by ArtsBrookfield, click here.

Saturday, November 3, 2012

Casting call for "Then She Fell" [UPDATE]

UPDATE: Please note that applications are still being accepted and the audition has been pushed forward to November 11 (as updated below).

***** 

I'm just able to get to a lot of email requests and information now. So, please forgive me for getting the word out late about this casting call. Due to post-Sandy conditions and delays, I would suggest that if you're still interested in this project, contact TRP and find out if you can still apply.

Third Rail Projects is looking for performers for the extension of their immersive work, Then She Fell, as well as future site-specific projects slated for 2013.  It is important for performers to be available from mid-December until mid-March to be part of a second cast for Then She Fell.

We are seeking performers with: a strong contemporary dance background and at least three years of professional performance experience; comfort and experience  moving in a site-specific context, for example on architecture (furniture, walls, tables, staircases); the ability to move athletically in aggressive, heightened choreography as well as an ability to execute simple, uninflected pedestrian actions; experience with dynamic partnering;  a willingness and comfort using voice and speech; and the ability to embody a character and interact personally and in close proximity to audience members.

Although we are looking to meet a range of dancers and performers, our most immediate needs for Then She Fell have specific requirements. We are currently seeking two female dancers with shoulder length (or longer), medium to dark brown hair and one male dancer with excellent partnering skills. If you do not meet these criteria, you are still encouraged to apply as we are also casting for future projects at this time.

Please send your resume (can also be in bio format) and a photo that best represents you as an artist to jennine@thirdrailprojects.com .  We will also accept links to online videos of your work.  Please include your height and hair color, as well as any blocks of time that you would be unavailable between December 2012 and July 2013.  We will select and contact the first round of candidates for a workshop with Third Rail Projects Artistic Directors on November 11 from 10-4pm.
Jennine Willett Millman
Co-Artistic Director
THIRD RAIL PROJECTS

Thursday, September 1, 2011

Haunted by Third Rail Projects

Steampunk Haunted House--brought to you by the versatile, imaginative, Bessie Award-winning Third Rail Projects--returns this October at Abrons Arts Center. Get details and view a brief PBS interview with the work's creators here.

Abrons Arts Center
466 Grand Street (corner of Pitt Street), Manhattan
(directions)

Thursday, July 14, 2011

Through the looking glass...



NY Premiere of Looking Glass
by Third Rail Projects

Performed by Tom Pearson, Tara O'Con, Elizabeth Carena, Jennine Willett, Tori Sparks and Marisa Nielsen-Pincus

All photos (c)2011, Eva Yaa Asantewaa

Extraordinary Moves: A Celebration of Dance through Movement, Film and Art at the World Financial Center (River to River Festival)

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