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Showing posts with label Zach Morris. Show all posts
Showing posts with label Zach Morris. 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)

Saturday, June 28, 2008

What I've been seeing lately...

Whew! Busy month! And now it's Pride Weekend! So, some quick notes:

nicholas leichter dance concludes its Spanish Wells premiere season at Dance Theater Workshop tomorrow night, and I'm just realizing just how much the smart and energetic Leichter has manage to throw into that very choppy ocean of his. I'm also starting to hear some buzz about Leichter's newest dancer, Mathew Heggem. One to watch.

Tom Pearson and Zach Morris (of Third Rail Projects) conclude their Vanishing Point premiere season at Danspace Project (www.danspaceproject.org) tonight. Everything about this one is big with heart--performances (of which Morris, Donna Ahmadi and Tara O'Con are the standouts), visual design, and music. This is a lovely one. See it, see it, see it!

The uncommonly handsome and indecently-talented Foofwa D'Imobilité concludes his Benjamin de Bouillis season at Baryshnikov Arts Center, a co-presentation with Chez Bushwick, tonight. Of course, he is a master of movement, and his overarching concept of embodiment/disembodiment gets played out in a myriad of clever, fascinating ways. But what I really hope you'll get to see (weather permitting) is the fantastic composition of sky, water towers, pigeons and window frame designed by New York City and God. I missed my camera, desperately, desperately!

And last, there'sThierry Malandain's Ballet Biarritz, concluding a season at the Joyce Theater tonight. I'm not on board for this one, but you'll enjoy the fine dancers.

That's it for now! Happy Pride Weekend!

Tuesday, June 10, 2008

Tom Pearson and Zach Morris: Body and Soul

It’s immediately clear that Tom Pearson and Zach Morris of Third Rail Projects take great pleasure in their work and that the personal bond between them creates an atmosphere of trust and courage that nourishes their entire artistic team. The dancer-choreographers spoke with me today about their partnership, their creative process and “Vanishing Point,” a new presentation at Danspace Project (June 26-28).

BIOS

TOM PEARSON

Tom Pearson works in a variety of media. Each work introduces its own movement and/or visual vocabulary, defined by the parameters of the subject and performance environment. Pearson’s work ranges from the surreal to the absurd, and part of his creative project includes an examination of American Indian identity in urban situations and everyday circumstances. Through the lens of a contemporary movement vocabulary, he creates dense, evocative worlds that illuminate the transient and the transformational, using movement abstracted from and coupled with everyday action. Paired with this is a fierce percussive abandon, often complimented by meditative nuance. Likewise, Pearson uses art installation to achieve rich, multi-dimensional environments, and site-specific explorations seek to mine public spaces for hidden meaning and to capture and engage unwary and uninitiated passersby.

Tom Pearson has been commissioned to create original site-specific works as part of Lower Manhattan Cultural Council’s SiteLines series, the Smithsonian National Museum of the American Indian in New York, and American Express’s River to River Festival; by Lincoln Center for the Performing Arts for the 2006 Lincoln Center Out of Doors Festival; and by the Hong Kong Youth Arts Foundation for the SWIRE ISalnd East Urban Dance Festival 2007. His work has been presented in New York by Dixon Place; La Mama E.T.C.; with The Thunderbird Indian Dancers at Theater for the New City; Dance Theater Workshop; Danspace Project at St. Mark’s Church; The New York International Fringe Festival; the D.U.M.B.O. Dance Festival; The Bridge for Dance; and Crazy Cuban Productions/Dance Space Center. Pearson has been supported by creative residencies at LMCC’s MOVE:133 Beekman in space generously provided by General Growth Properties, Inc.; the Great Neck House, Great Neck, NY; by a Harkness Space Grant from the 92nd Street Y Harkness Dance Center; Dance Theater Workshop’s Outer/Space program at Topaz Arts; Epiphany Theater Company; and as part of The Swarthmore Project at Swarthmore College, PA.

Tom Pearson is Co-Artistic Director of Third Rail Projects and frequently collaborates with the other members of Third Rail on joint ventures. He received his M.A. in Performance Studies from New York University, his B.F.A. in Dance and B.A. in English from Florida State University. He has taught as an Adjunct Professor of Dance at the Florida School of the Arts; as a movement instructor for Opera Workshop at LaGuardia High School for Music, Art and the Performing Arts (through New York City Opera's Arts-in-Education program); as the Dance Program Coordinator at the award-winning LEVELS teen center in Long Island; and as a part of several other high school and special interest programs and through master classes at Swarthmore College and Florida State University. Pearson's writings on dance have been published in Dance Magazine, Dance Spirit, Time Out New York Kids, and Uncoolkids.com.

ZACH MORRIS

Zach Morris believes that art should be fun. He also believes it should be well-crafted, engaging and have some meat to it. Most of all, Zach believes that art is a means to an end–a meditative discipline and an on-going investigation of the human condition utilizing a communicative system of images, juxtapositions and metaphors that resonate on a fundamental, intuitive level. As such, he is deeply interested in exploring themes and relationships that illuminate the broader patterns of human experience. He is fascinated with evoking archetypal images and placing them into highly personal or pedestrian contexts. By colliding the mythic with the mundane he has begun to understand how these dream-like images can inform, shape and elucidate our day-to-day existence.

Zach hopes to effect positive change by creating projects that allow both the artist and audience to sidestep our preconceived notions about our reality and ourselves, and allow us access to more elusive but equally potent ways of understanding. Some people have written about his work and said it is "wickedly funny", "visually stunning" and "hauntingly melancholy." Other people have said, "there is no escaping the feeling that you have been doing drugs for the past hour. Good drugs."

Zach is a director, choreographer, author, visual artist, and filmmaker. His work has been seen in London, at several theaters around the US and at numerous venues in New York City including: the South Street Seaport as part of the Lower Manhattan Cultural Council's SiteLines Series, Dance Theater Workshop, Dance New Amsterdam, University Settlement/The New York Fringe Festival, Dixon Place, the Williamsburg Art Nexus, and The Merce Cunningham Studio. He has received the Henry Boettcher Award for Excellence in Directing, the NYC Fringe Fest Award for Excellence in Choreography, and has been granted residencies or commissions from La Mama, LMCC, the Swarthmore Project, The Great Neck House, Epiphany Theatre Company, Dance Theater Workshop’s Outer/Space program at Topaz Arts, and others.

Zach is Co-Artistic Director of Third Rail Projects and has also served as the Co-Creator and Co-Director of the Westbeth New Works Program; the National and International Programs Associate at Dance Theater Workshop; the Bartender at a number of questionable establishments; and most recently, as the Dance Coordinator at LEVELS, a teen-center based in Long Island. Zach has a B.F.A. in Directing from Carnegie Mellon University. Click on name above to go to Zach's page.

EVENT

“Vanishing Point” at Danspace Project, St. Mark’s Church–June 26-28, 8:30pm. A post-show discussion with dance writer Brian McCormick and the choreographers will follow the opening night performance.

LINKS

Third Rail Projects
http://www.thirdrailprojects.com

Danspace Project
http://www.danspaceproject.org

Body and Soul is the official podcast of InfiniteBody dance blog at
http://infinitebody.blogspot.com.

Subscribe through iTunes or at
http://magickaleva.hipcast.com/rss/bodyandsoul.xml.

(c)2008, Eva Yaa Asantewaa

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