PS122: "The Passion Project"

Photo by Paula Court.

A ten-by-ten-foot cube in the middle of a dark room acts as the stage for Reid Farrington’s The Passion Project, a half hour long installation which will run through September 20 at PS122. The cube is defined by hanging ropes (these are tied into loops along the perimeter and across the top of the space), several frames holding parchment screens (leaning on the perimeter of the space), and an intermittent square of white light projected onto the floor that appears at the beginning of the performance. The stage awaits dormant, its audience encouraged to walk around it before and during the performance by Mr. Farrington himself. It is reminiscent of a cage, of a room, of a place at once distant and intimate. At times, I felt compelled to enter the stage and experience being inside, rather than outside the cube. But that is the job of Shelley Kay, the live performer who eventually enters the cube, as she said in an interview with Gia Kourlas, “walking into the throngs like a boxer”.

What ensues is an extremely physical half hour, in which Kay lifts, hangs, moves and unhooks the parchment frames from and onto different locations all around the cube. Her challenge is to catch projected images from Carl Th. Dreyer’s 1928 “The Passion of Joan of Arc”, a classic black and white silent film on the story of Joan of Arc’s condemnation and eventual death as a martyr. The film has been cut and edited by Farrington, so that for the most part what appears on the screens are close ups of different characters: Joan of Arc, of course, as well as various representatives of the orthodox clergy that broke her with long interrogations and finally had her burned. Kay moves frantically around the cube, catching an image of Joan of Arc, and letting her hang onto a loop, then running in a diagonal for the close up of a clergy man—this only lasts a few moments, than Kay kneels, puts down the frame she’s holding, and grabs another to run onto the next projection. The effect is powerful: the frames become windows, shields, tools, all necessary to piece together Joan of Arc’s story. As the performance builds up, Kay begins to sweat, her effort contrasting her physical presence with the mediated presence of the actors all around her. While we watch Kay catching images and working hard on keeping up with her cues, Farrington also stands on the side, watching. Like the men in the film, and like us spectators, only witnesses Kay’s efforts and physical challenges. An interesting echo to the projections of the clergymen on the screen.

The powerful visuals of The Passion Project are enhanced by Farrington’s sound design, a multi-layered mixture of church chants, the sound of the film’s reel being projected, the voices of people editing the film, as well as some less recognizable voices and noises. The volume of the sound sometimes reaches almost unbearable loudness, creating a physical and emotional experience for the audience. The parchment screens themselves create loud snaps every time Kay reaches out to catch an image. Like the projections on the screens, the sound is not continuous, but has a repetitive quality to it. The overall effect is a three dimensional puzzle coming together, a puzzle with many layers and not definitive form.

Farrington’s piece successfully brings the audience into the nightmare of Joan of Arc, while taking a step back from film as a medium of representation. Through Kay’s performance, Farrington breaks down and exposes the different frames from the film: Kay is literally piecing the film together. By the end of the installation, the film has become at once more and less than itself, a combination of live performance, sound art, and clips of the original film. There were moments when I wished for more distance, more ambiguity towards the inevitably tragic nature of the story. My desire might have been encouraged by almost unidentifiable moments of humor in the installation (for instance, when Joan of Arc is being burned and on one of the screens there appears: “Jesus!”). Kay’s performance, although based on cues and tasks, sometimes overly amplified the evident suffering already on display in the projections of Joan of Arc. Yet overall the piece opened up the original film in unexpected ways, the installation offering a perfect medium through which to present the work. Anyone interested in video, dance, or installation performance should not miss Farrington's latest work.

My weekend.

Back from a summer away from New York and from the country, with often limited internet access and even more limited access to theater, dance and music events. This is a short blog to let you know what I will be doing this weekend, hoping my plans will interest you.

Tonight (Thursday, Sept. 11): I will head over to the Ontological Hysteric Theater to see The Brainum Bros. & Sons Theatrical Outfit’s The 2 Sisters; or Douglas Mery, Next to Nothing (8pm). From the website: “ridiculous humor and chilling horror ride roughshod over traditional apocalyptic storytelling. Two clairvoyant sisters have journeyed into the wilderness in search of their long lost mother; instead they find a man without a future, perform brain surgery, and reveal the contents of their underwear drawer”.

Friday, Sept. 12: Join me at The Stone to participate in “a night of music and madness” in support for this great venue. John Zorn will play the sax, joined by Ikue Mori (laptop) Sylvie Courvoisier (piano) and “many special guests”. There’s a cover charge of $20 (2 sessions: 8,10pm).

Saturday, Sept. 13: come see Reid Farrington’s Passion Project at PS122 (9pm). This critically acclaimed installation has already shown at 3LD this summer, and promises to be an exciting combination of video and live performance.

That’s all for now. As a reminder, the World Music Institute has some great music events coming up. I am looking forward to seeing the Whirling Dervishes of Damascus with Sheikh Hamza Shakkur & Ensemble Al-Kindi, coming up on September 21. All of their events take place at the Skirball Center for Performing Arts. (If you are a NYU student, tickets are only $12.)

Also, Bill T. Jones will be at BAM with A Quarreling Pair (follow the link to see a extracts from the performance), Sept. 30 and Oct. 2-4. Bill T. Jones is one of the sexiest and most exciting American contemporary dance choreographers. He has put together a diverse company, with dancers from all over the world, and his work can be both moving and exhilarating. I highly recommend going to see his work, especially if you have not been exposed to contemporary dance before.

Ontological-Hysteric Incubator: “Vicious Dogs On Premises”.

The Incubator’s Summer Season began on May 29 with Witness Relocation’s Vicious Dogs on Premises, a playful, funny and extremely physical performance piece which will run until June 14th. On a pink set lined with fuchsia fake fur, 4 actors play a wild game of improvisations interspersed with carefully set and choreographed scenes. It’s a pleasure to watch the actors as they cover a wide range of performance styles: from intimate personal revelations (as people rather than as actors), to loud, expressive dancing, to more classical role playing, their bodies are constantly present and energized. (The performers are all alumni of NYU’s Tisch School of the Arts, and their acting definitely reflects their strong training).

Vicious Dogs on Premises is something of a great improvisational act. Artistic director Dan Safer changes the order of the scenes every night, enjoying the spontaneity and excitement which this brings to the actors’ performances. Safer himself performs each night: in a little desk on the side of the pink stage, Witness Relocation’s artistic director dictates the beginning and end of each scene by using a bell. The actors frantically respond to him, running downstage every time he rings his bell in order to read what’s next on the evening’s play list. And the list encompasses all sorts of subjects: love, death, sex and violence, all make their appearance on the stage . As unexpected relationships develop among the characters, the scenes never last long enough to settle into them. And just when it looks like the evening will be a series of disconnected events and vignettes, a love story pops up, bringing the whole piece together into a (somewhat) more conventional narrative.

Vicious Dogs on Premises is a funny, playful and well directed piece, a meditation on the turmoil that comes about when faced with “too many choices”, a problem well reflected in the frantic energy of the performance. Don’t miss Witness Relocation’s wild and exciting physical theater, an auspicious beginning to the Incubator’s Summer Residencies.

Vicious Dogs on Premises

May 29–June 14
Tuesday, Thursday–Saturday, 8p.m.
Sunday, June 1, 8p.m.
Friday, June 13 and Saturday, June 14, additional 10p.m. performances
Tickets: General $17/Student $12
Purchase in advance here or by calling 212-352-3101. Cash only at the door.
For more info on Witness Relocation: www.witnessrelocation.org

Starr Street Projects: "Catch 30"

Yesterday's "Catch 30" comprised 10 different dance pieces performed over an hour and a half evening. The scene at Starr Street Projects was quite a performance in itself: the space is situated in the middle of Bushwick and before the show began, an island of hipster dance spectators gathered around the entrance of the space. The general whiteness of the audience struck me, particularly in contrast with the darker faces of the neighbourhood's residents.

I was similarly surprised by the homogeneity of the dance on show: although artists worked with different media and genres (from pure dance without sound, to mix-media puppetry and video, to more classical theatrical work) the pieces felt very close to each other in aesthetic choices. 80's white pop culture was referenced again and again, in the choice of movement, sound and costumes. There was a large and very supportive audience and, in general, the event felt like the casual gathering of a community of friends, coming together for beers and to support artists they knew.

Shitheads on Dynamite! presented one of the most interesting pieces in the evening. The work consisted of a musician on live drums and two dancers moving in response to an edited version of "A Date With Your Family", a 10 minute instructional film on family relations released in 1950. The piece built up slowly, the beats of the drum and the frenetic dancing of the performers eventually turning the experience of the video into a ritualistic family gathering.

Overall, "Catch 30" gave one a glimpse of a very specific scene in the contemporary dance world of NYC. In the future, it would be great to see more difference in a program that brings together so many artists.

PS122: "Oedipus Loves You".

Until June 1, 2008, the Dublin based Pan Pan Theatre company will perform Oedipus Loves You at PS122. According to Wikipedia, “a call of pan-pan means there is an emergency on board a boat, ship, aircraft or other vehicle but that, for the time being at least, there is no immediate danger to any one’s life or to the vessel itself. This is referred to as a state of urgency”. Whether or not Aedin Cosgrove and Gavin Quinn were thinking of this definition when they founded Pan Pan in 1991, Oedipus Loves You successfully breathes urgency and immediateness into the familiar story of Oedipus.

Pan Pan’s production follows the traditional form of Greek tragedy: events take place over the arc of a day, all violence happens off stage, characters sometimes wear masks and, most importantly, there is music and dancing. While the plot follows that of Oedipus (by Seneca) and Oedipus Rex (by Sophocles), there is nothing traditionally classical about the characters in Oedipus Loves You. Tiresias, the blind prophet played by Ned Dennehy (who also plays a naked sphinx on platforms for the opening scene of the play), is a retired rock star who wants to play percussion in Antigone’s and Creon’s indie-rock band called “Gordon Is A Mime”. Antigone, smartly played by Aoife Duffin, is a melancholic teenager divided between her love for her family and the deep desire to be left-the-fuck-alone. Uncle Creon (Dylan Tighe) sniffs coke and can hardly contain his own incestuous impulses towards Antigone. Jocasta (Gina Moxley) does not mind the plague at all- in fact, it makes her sleep better. And Oedipus…well, Oedipus can’t even cook meat right for the family barbecue. Played by Bush Moukarzel, Pan Pan’s Oedipus can hardly contain his own self-pity after he gushes his eyes out. In one of the highlights of the performance, his button down shirt completely drenched in blood, Oedipus remembers the lyrics of his own favorite childhood song: Lynyrd Skynyrd’s Freebird. He actually breaks down and cries after singing a few of the first verses.

Playing off of Freud’s writings as well as on contemporary notions of postdramatic theater, Pan Pan’s Oedipus Loves You brings wit and a healthy amount of distance to the theatrical Oedipal “super-plot”. The production is defined by a subtle dark humor that allows for the heavy tragic elements of the plot to exist in tandem with the lightness of irony and detachment. The production is also interesting in terms of set, light and sound design, all of which support the notion of a theater conscious of its theatricality yet fully entertaining, (a)live, and aware of its audience. If you have not seen it yet, don’t miss it!

Pan Pan Theatre’s
Oedipus Loves You

May 21 - June 1
Wednesdays - Sundays at 8
Saturdays at 8 and 11
Tickets from $20
$15 (students/seniors)
$10 (P.S. 122 members)

Movement Research Festival: "80's and 90's On Screen - Dance Relics".

On Tuesday, May 27th, Christine Elmo and Jmy Leary presented “80’s and 90’s on Screen - Dance Relics”, an evening of dance videos from the NYC dance scene in the 80’s and 90’s. Elmo and Leary put together about 4 hours (!!!) of rarely seen videos that included performances, films, rehearsal and interviews. Although I could not make it through the whole evening, I made it through enough of the night to enjoy Elmo’s and Leary’s curatorial endeavour. Some of the first films showed a very young Steve Paxton and a ridiculously sexy Bill T. Jones experimenting with their bodies before they became established pillars of the dance community. The videos documented works by Ishmael Houston-Jones and John Jasperse (both of whom where in the audience), as well as by Meredith Monk, Scott Heron, and other exciting artists from the NYC dance community. The evening took place in the gymnasium of the Judson Memorial Church and the energy felt electric- the gym was filled with artists, dancers, musicians and, in general, people curious and interested in the rare opportunity of seeing so many dance videos from such a recent period in history. It was great to be part of an event that paid tribute to artists who are still young and working, while recognizing the importance of two decades of modern dance still too often overshadowed by the 60’s and 70’s.

“80’s and 90’s on Screen” was part of the Movement Research Spring Festival 2008, with events/performances/classes running up to June 9, 2008.

Ontological Hysteric Theater: "Tiny Theater! Festival".

Thursday, May 22, I attended the first evening of the Incubator's Tiny Theater! Festival at the Ontological Hysteric Theater. Curated by Michael Gardner, of The Brick, and Shannon Sindelar and Brendan Regimbal of the Ontological, last night's show included a line up of 6 different performances all taking place in a 6'x6'x6' space in 10 minutes or less: a very focused emergent theater marathon!

By the end of the evening I felt elated: curators for Tiny Theater! have brought together an interesting and diverse group of performance artists. From puppetry to neo-futurism, the 6'x6'x6' metal cage on the stage was inhabited by very different performances: sometimes the cube looked spacious and empty, as in SPi Company's "They Are Bad People", where two actors simply sat on chairs for the entire performance. At other times, the cube felt crowded (see the very sexual "Five (Eduardinos)") or extremely constraining, as in 6-Speed, the New York Neo-Futurist piece in which actors toasted cookies and swayed on metal bars like children in a jungle gym. Each performance used the space more or less effectively, but overall the evening had a wonderful rhythm and energy.

Curators of Tiny Theater! have also successfully brought together different kinds of performances. For the most part, the tiny performances were entertaining: filled with humorous characters (such as the she-Kermit-the-Frog in "The Barber of Saskatoon") and ironic props (as The Angel of Repose's spinning halo in "The Alternative Lifestyle Fair"). Yet there were also more sobering pieces. In Portrait of JB, for instance, a woman dressed in white walked around the stage carrying the bleeding severed head of a pig, while a man smoked a cigarette in the back of the theater. Overall the evening was gracefully crafted and the differences among the pieces worked well within the rhythm of the festival.

I highly recommend seeing one of the three remaining performances. Here's more information:

TINY THEATER 8p.m. Thursday--Saturday, May 22--24. Additional 11p.m. performance Saturday May 24. $15 cash at the door, or reserve in advance here or by calling 212-352-3101.

Ontological Theater at St. Mark's Church, 131 E. 10th Street (at 2nd Avenue)

In case you can't make any of these shows, look out for upcoming Summer Residencies at the Incubator.