DIRECTED BY JIM FINDLAY

WRITTEN BY JEFF JACKSON and JIM FINDLAY

PERFORMED BY ILAN BACHRACH, CHET MAZUR and LIZ SARGENT

SET – PETER KSANDER
LIGHTING + VIDEO – JEFF SUGG
SOUND – JAMIE MCELHINNEY
COSTUMES – NORMANDY RAVEN SHERWOOD
PLANTS – ROB BESSERER
COMPOSER – JIM DAWSON

ASSISTANT DIRECTOR/STAGE MANAGER – MAURINA LIOCE
TECHNICAL DIRECTOR– JOSH HIGGASON
PLANT INTERACTION DESIGNER – RYAN HOLSOPPLE
ASSISTANT SET DESIGNER – AMY RUBIN
SOUND CONSULTANT – BRANDON WOLCOTT
CONSULTING BOTANIST – DOUG DALY

PRODUCER – JOEL BASSIN

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Ilan Bachrach(Performer) is a performer and visual artist from New York City, is a company member of the National Theater of the United States of America, and Nature Theater of Oklahoma, has also created and performed works with Jim Findlay, Sibyl Kempson, Phil Soltanoff, Collapsable Giraffe, Temporary Distortion and others.

 

 

Joel Bassin (Producer) has worked with The Wooster Group, Mabou Mines, and Theatre de la Jeune Lune. Recent projects include associate producing Steve Cuiffo, Trey Lyford, and Geoff Sobelle’s Elephant Room (Plays & Players Theatre / Philadelphia Live Arts Festival), James Manzello and Oliver Wason’s Love In A Tub (La Mama / NY International Fringe Festival); directing Kimberly Shelby-Szyszko’s Placebos Dress for Comfort (Manhattan Rep), and Brecht/ Weill’s The Threepenny Opera (Kaye Playhouse); associate producing David Neumann’s Big Eater (The Kitchen), Cynthia Hopkins’ The Success of Failure (St. Ann’s Warehouse), and James Braly’s Life in a Marital Institution (59E59 Theatres). Bassin is an Assistant Professor in the Department of Theatre at Hunter College and is a grateful alum of the CUNY Graduate Center (Ph.D. / Theatre) and Mason Gross School of the Arts (MFA / Directing).

Rob Besserer (Plant Designer) is a dancer, performer and a self-taught garden designer. Besserer’s garden designs include a collaborative design with painter Jennifer Bartlett of a two acre tree and native grass planted art work in Brooklyn, and several plant design and installations for Annie Leibovitz photo shoots, most notably the recent Walt Disney fairy tale campaign with Beyonce and Tina Fey. He has designed perennial gardens in private residences for Bartlett, Leibovitz, Sandra Bullock, Wallace Shawn/Deborah Eisenberg, and Liv Schreiber, among many others. As a dancer and performer he has worked with many choreographers and directors since the 1970s including the Lar Lubovitch Dance Company, the Mark Morris Dance Group (where he originated the role of Drosselmeir in The Hard Nut), and Mikhail Baryshnikov’s White Oak Dance Project, of which he was a founding member. He has collaborated on six productions with director Martha Clarke, the latest being Belle Époque at Lincoln Center Theater. He has performed in Robert Wilson/Phillip Glass’ The Civil Wars at the Rome Opera, Mabou Mines’ Red Beads, and since 1982 has performed in works at the Kitchen by many notable choreographers including Bill T. Jones, Karole Armitage, Frank Moore, Jim Self, Richard Elovich, and Tere O’Connor. Besserer received an Obie in 1987 for his for performance in The Hunger Artist, and a Bessie Award for sustained achievement in 1984. Besserer’s film credits include Woody Allen’s Small Time Crooks, Matthew Barney’s Cremaster 2, The Guru, and Ghostlight. He is currently playing the role of Ambrogio in Barber of Seville at The Metropolitan Opera, directed by Bartlett Scher. In 2011 he will be featured in Scher’s new production of Rossini’s Le Compte Ory, also at the Met. He has a BFA from the University of Florida.

Jim Dawson (Composer) has composed and/or designed sound for many performance, dance, and film projects including The Wooster Group’s Who’s Your Dada?! at MoMA, Hamlet, To You, the Birdie!, and North Atlantic; Coen Brothers/Charlie Kauffman stage piece Theater of the New Ear; Cynthia Hopkins’ Must Don’t Whip Um’ and Accidental Nostalgia; and Collapsable Giraffe’s Letters from theEarth. Film designs include The Fixer (dir. Ian Olds), The Narcotic Farm (King Love Prod), Bomb (dir Ian Olds), and Occupation: Dreamland (dir. Garrett Scott and Ian Olds). He has executed numerous audio system designs including St. Ann’s Warehouse and The Box (nightclub NYC).

Jim Findlay (Writer and Director) works across specialties as a creator, director, designer, and performer with a constellation of theater, performance and music groups. He was a founding member and primary collaborator in both the experimentally groundbreaking Collapsable Giraffe and the internationally successful music/media performance company Accinosco/Cynthia Hopkins, as well as being an associate artist of The Wooster Group since 1994. Jim lives and works out of a studio in Brooklyn, NY.

Findlay has been involved in every aspect of all of the Collapsable Giraffe’s performance works including Damfino (Performing Garage 1998); 3 Virgins (ShowWorld 1999); Bend Your Mind Off (Collapsable Hole, 2000 and 2001); Witch Mountain/Black Tarantula (Collapsable Hole 2001); Letters from the Earth (Collapsable Hole 2005); and Pee Pee Maw Maw/Last Crash (Collapsable Hole 2008/2009). For Accinosco, and in league with longtime collaborator Jeff Sugg, Findlay has designed sets and video for Cynthia Hopkins’ “Accidental Trilogy” – – Accidental Nostalgia (Bessie Award 2005), Must Don’t Whip ‘Um (2007), and The Success of Failure (Walker Art Center and St. Ann’s Warehouse 2009). Jim also performed in all three works. Findlay has been an associate artist of The Wooster Group since 1994. From 1995 to 2003 Findlay led the technical team and designed sets for House/Lights (Bessie for Design 1999, Obie 1999) and To You, the Birdie! (Obie 2002).

Findlay also has worked consistently with Ridge Theater and Bang on a Can since 2001 on such projects as DECASIA (Basel Switzerland 2001 and Brooklyn 2004), Shelter (BAM 2005); Oedipus, composed by Harry Partch (Peak Performances 2005), Difficulty of Crossing a Field (Peak Performances 2006), Lightning at Our Feet (BAM and US tour 2009), Steel Hammer by Julia Wolfe and performed by the Bang on a Can All-Stars (Carnegie Hall and US Tour 2009), and Persephone with songs by Ben Neill and Mimi Goese and text by Warren Leight (BAM 2010). Other notable projects include set design for How Can You Stay in the House All Day and Not Go Out (BAM 2010) and video design for Saving the Princess (Lyric Opera Ballet 2009) both by choreographer Ralph Lemon; set and video design for Brooklyn Omnibus by Stew and Heidi Rodewald (BAM 2010); set and video design (with co-designer Jeff Sugg) of cartoonist Ben Katchor’s musical Slug Bearers of Kayrol Island (Vineyard Theater 2008, Hewes Design Award, Lucille Lortel Award, Obie Award, and Drama Desk nomination); set design for Red Fly, Blue Bottle (HERE 2009); set design for Riot Group’s Switch Triptych (London and Edinburgh UK 2005); and video design for The Tomashefsky Project by Michael Tilson-Thomas and the San Francisco Symphony (2005).

Jeff Jackson (co-writer) is a writer, curator, and editor currently living and working in Charlotte, North Carolina. He writes fiction and plays, as well as film, music, and literary criticism. Jackson’s short fiction “Three Untitled Stories About Smoking” was published in fiction anthology Userlands (Akashic Books, 2007), edited by Dennis Cooper. The book was selected by NPR as one of its Recommended Summer Reads. Jackson’s stories “The Beach” and “Another Layer of Ash” were chosen for the New River Fiction Fall 2009 and Fall 2010 reading series in Los Angeles and New York City. The pieces were performed by renowned actors alongside works by National Book Award winner Denis Johnson, Pulitzer Prize laureate N. Scott Momaday, and Best American Short Story winner Sharon Pomerantz. Jackson has won Dodge Foundation Fellowships to work on his fiction at the Virginia Center for the Creative Arts. He recently completed a novel entitled Mira Corpora.

Jackson is a founding member of Collapsable Giraffe. He worked as writer on productions including Pre-Paradise Sorry Now (1996), Damfino (1997/1998), Witch Mountain Black Tarantula (2001), and Pee Pee Maw Maw/The Last Party (2007). As an arts critic, Jackson has written film, book, and music reviews, profiles, and feature articles for publications including MTV Online, Blender, Sonic Net, Jazziz, and The Valley Advocate. He also runs Destination-Out (www.destination-out.com), a popular website dedicated to jazz which has been acclaimed by The New Yorker, Wired, and Playboy. Jackson’s work as an editor includes the literary anthology Topograph: New Writing from the Carolinas and the Landscape Beyond (2010), which features exclusive work from John Darnielle and Blake Butler. He also edited and wrote an introduction for an upcoming anthology of Frank Lentricchia’s fiction (Bordighera Press, 2012). Jackson serves as Arts editor for Charlotte Viewpoint, a multi-media online magazine. As an undergraduate at Duke University in 1993, he was awarded the William H. Blackburn Scholarship for Excellence in Creative Writing. He holds a BA from Duke and an MFA in Creative Writing from NYU.

Peter Ksander (Set Designer) is a sculptor and theater artist currently based in Portland, OR. Previously he has lived and worked in Brooklyn, Chicago, Iowa City, and Los Angeles, and holds a MFA from the California Institute of the Arts. Design credits include scenic and/or lighting designs for The Brothers Size (The Public Theater, The Studio Theater, Dublin), Othello (Theater for a New Audience, Intiman Theater), On the Levee (Lincoln Center Theater 3), The Scarlet Letter, Arms and the Man (Intiman Theater), A House In Bali (Bang on a Can/Cal Performances), The Misanthrope (Portland Stage Company), Making of Americans (Walker Art Center), Laude in Urbis (Compania di Colombari, Orvieto Italy), This Place is a Desert (w/ Jay Scheib, Institute of Contemporary Art, Under the Radar Festival, MIT), Drum of the Waves of Horikawa (The Theater of a Two-Headed Calf), Stanley 2006 (HERE Art Center w/ Lisa D’Amour), Saint Joan of the Stockyards (Stillpoint/PS122), and several productions for the California Institute for the Arts including Baal, The House of Bernarda Alba and …Or the Whale (an operatic adaptation of Moby Dick by boxer Julie Crocket). His design work has appeared in the Buenos Aries in Translation Festival, The Ontological Hysteric Incubator, PICA’s Time Based Art Festival, and at the Massachusetts Institute of Technology. Ksander won an Obie in 2008 for his scenic design of Untitled Mars (this title may change), created and directed by Jay Scheib and presented at PS122 and the National Theater of Hungry. Ksander has worked with Richard Foreman (Bad Behavior, Wake Up Mr. Sleepy! Your Unconscious Mind is Dead, Deep Trance Behavior in Potatoland, Astronome: a Night at the Opera, Idiot Savant), Erik Ehn (Ideas of Good and Evil, ICE: Cry me a river…), Karin Coonrod (Laude in Urbis, The Blackamoor Angel, Love’s Labors Lost), Mark Wing-Davey (1:23, Small Tragedy), and Robert Woodruff (Oedipus). Between 2001-2004, Ksander was associate scenic designer to Douglas Stein, working on projects both nationally and internationally. In 2006, Stein and Ksander began co- designing projects including Carson Kreitzer’s 1:23, and Lemon Andersen’s County of Kings.

Ksander received a 2005 NEA/TCG Career Development grant and spent two years investigating how experimental theater ideas are explored at all levels of production in the United States. Peter also works as a generative performance artist creating — in collaboration with other artists. These works include Seeing the Elephant and The Sleeping Dane Effect (a collaboration with animator Melissa Chimovitz). He is co-founder of Tiny Elephant whose first piece, The Stupid Butterfly Project, appeared in Puppetlab at St. Ann’s Warehouse. Ksander is a member of TENT, a company rooted in image and performance-based ensemble generated work that questions theatrical tradition. Most recently TENT developed Ugly Children do not get Cake, a rooftop performance exploring the distance between an individual and the dreams contained in the architecture of a city. Previous projects with TENT include Zero Winter, Oh Sweet Captain or the Ahab Stomp, Your Shipwreck is No Disaster, KG: Life in a Tin Can, and He bent his head and watched his steps, for this helped him avoid thinking. Ksander also has continuing artistic relationships with the Theater of a Two-Headed Calf, Lear DeBessonet, Jay Scheib, Quinnopolis NY, Restless NYC, Banana Bag and Bodice, and the Incubator Arts Project where he serves as a curator of new and experimental work.

Maurina Lioce (Stage Manager & Assistant Director) works in many aspects of music, theater, and production. She most recently participated in the Wooster Group’s Booty Call Avant Garde- A- Rama at PS122, K Record’s What the Heck Fest and Pearl D’Amour’s How to Build A Forest at The Kitchen.

 

 

Chet Mazur (Performer) has previously worked with director Jim Findlay in Collapsable Giraffe’s Witch Mountain Black Tarantula (2001). Mazur is front man of the NYC punk band The Mobile Homos (1998 – 2000), and is a regular participant in the stage shows of the bands Alice Donut and Thrust, performing throughout New York, the U.S., Canada and Europe, Mazur’s occasional film acting has included several projects with Lewis Klahr. He appears as himself in the documentary Diary of a New York Thief and the History Channel series, The History of Sex.

Jamie McElhinney (Sound Designer) is a New York based sound designer, engineer, and consultant. Recent sound designs include Stop the Virgins directed by Adam Rapp (St.Ann’s Wharehouse), Persephone directed by Bob McGrath (BAM Harvey Theater), Top Secret directed by John Rubinstein (New York Theater Workshop), Stew’s Making It (St.Ann’s Warehouse), Accinosco’s The Success of Failure and international touring sound designer for Must Don’t Whip ‘Um and Accidental Nostalgia written by Cynthia Hopkins, Lizzie Borden directed by Tim Maner (Living Theater), Lightning at our Feet directed by Bob McGrath (BAM Harvey Theater), Music Director/Sound Designer The Fall and Rise of the Rising Fallen directed by Mallory Catlett (PS122), Songs of Dragons Flying to Heaven directed by Young Jean Lee (HERE); Technical Manager for the international tour of The Builder’s Association’s

Supervision, part-time sound engineer at Dizzy’s Club Coca Cola / Jazz @ Lincoln Center, touring sound engineer with Young at Heart Chorus’ End of the Road directed by Roy Faudre, touring sound engineer for Big Dance Theater’s Supernatural Wife directed by Annie B. Parson and Paul Lazar, Head Audio and Video supervisor for the inaugural season of REDCAT at Cal Arts (Los Angeles, CA). MFA in Sound Design from California Institute of the Arts (2003), recipient of the NEA/TCG Career Development Program for Designers (2007-2009), and a 2010 Henry Hewes & Drama Desk Nomination for best non-musical sound design for Top Secret.

Liz Sargent(Performer) is an Asian American artist living and working in Brooklyn, New York.  She is the director and costume/installation designer for her performance installations that are mainly made for site-specific spaces. These pieces have been produced by Danspace Project City/Dans, Lower Manhattan Cultural Council’s Sitelines, Dance Theatre Workshop, The Chocolate Factory, Piccolo Spoleto, Chez Bushwick, Abrons Art Center and Mount Tremper Arts. With funding by Wachovia Bank, Lower Manhattan Cultural Council, and the Danspace Commissioning Initiative among others. Liz is a graduate of The University of North Carolina School of the Arts in Contemporary Dance.  While she has focused particularly on her performance installations she has also been active in education as a Movement Specialist at The Lenox Hill Neighborhood House and as an arts administrator with Dance Theater Workshop, J Mandle Performance, Noemie Lafrance, Catherine Bay (The Snow White Project), Mount Tremper Arts and event coordinator for The New York Dance and Performance Awards. As a performer and ‘designer,’ she has worked with various artists and companies in NYC including: Jim Findlay Botanica, Jonah Boaker/Chez Bushwick, Aynsley Vandenbroucke Movement Group, Adrienne Westwood, Third Rail Dance/Zach Morris, Stephanie Sleeper/Studio A.I.R. and more.  Liz is a self-taught costume designer and freelances in wardrobe at St Anns Warehouse, Montclair University, Martha Graham Dance Company and freelance throughout New York City.

Normandy Raven Sherwood (Costume Designer) is a costumer, a playwright, and a performer. She makes costumes for her company the National Theater of the United States of America (Chautauqua!, Don Juan, Abacus Black), and has also created costumes for productions by Mac Wellman, Half Straddle, Yehuda Duenyas, Young Jean Lee, Elizabeth Swados / The Flea Theater, and Faye Driscoll. She was awarded a 2009 Bessie Award for Costume Design for Faye Driscoll’s 837 Venice Blvd. Normandy often costumes her own plays which have been presented at the Ontological Hysteric Theater, 13th Street Rep, Skidmore College, Dixon Place, and more, and she is also a co-curator of Little Theatre @ Dixon Place, a long-running monthly performance series. She is currently writing and costuming a new play for the NTUSA called The Golden Veil that will premiere at the Kitchen in May 2012. Normandy has an MFA in playwriting from Brooklyn College.

Jeff Sugg (Lighting/Video Designer) has been a New York based designer, technical consultant, and technician specializing in the integration of media technologies since 1996. His work in almost every aspect of the creative side of live performance has taken him to over fifteen countries with more than ten different companies.

As a lighting/video/set designer and co-creator of innovative theater works, Sugg has collaborated with numerous companies and individual artists including the Philadelphia-based Pig Iron Theatre Company, composer Joe Diebes, Transmission Projects (which he formed in 1999 with co-designer Tom Fruin and performers Cynthia Hopkins and Anika Kristensen), and Collapsable Giraffe. Sugg also recently designed video and set for two new productions with San Francisco Symphony conductor Michael Tilson Thomas (The Thomashefsky Project, which premiered at Zankel Hall at Carnegie Hall in April 2005) and Let Them Eat Cake/Of Thee I Sing (June 2005 at Davies Symphony Hall in San Francisco). In addition to his work as a collaborative artist specializing in video and lighting design, Sugg has worked for dozens of companies as master electrician, production stage manager, technical director, and technical consultant. Notable employers include Laurie Anderson (2004-present), Richard Foreman (2003-present), Big Dance Theater (2003-present), Daniel Wilkins and somesuperfriends (2001- present), The Wooster Group (1997-present), Lee Breuer (2004), Natalie Merchant (2002- 04), John Jesurun (2003), GAle GAtes et al (1997-2003), Stephen Petronio (2002), Elevator Repair Service (2002), and Natalie Cole (2001-02). Sugg also teaches media and performance at Swarthmore College.