L.A. Party was created in my living room and went on to be performed throughout the U.S. and Canada. It's a spin on a very familiar form---the one man show. A simple video technology is used: one performer lying on the floor has his face projected on another persons face. Each of the six performers plays a certain body part (the voice, face and body) and the actors collaborate to create a composite human being. The resulting “person” spins a wild tale: a raw foodie plummets off the vegan wagon into a wild, drugged-out L.A. ride.
A collaboration with Jim Findlay at the Center Theatre Group in Los Angeles.
The third part of a trilogy about physical space and the second collaboration with CIE 111. MORE OR LESS INFINITY is about the geometry of the line. It premiered at Vidy Theatre in Lausanne, Switzerland in late September 2005. It has performed throughout Europe including Kampnagel, BITEF, Theatre de la Ville, TNT and Pina Bausch's NRW International Dance Festival in Dusseldorf.
to whom it may concern was created with the Act One Company at The Williamstown Theatre Festival in 1996. It was restaged on the entire 15th floor of an office building in downtown Manhattan and then invited to the Belgrade
International Theatre Festival in 1997. The impetus for to whom it may concern spoke precisely to my commitment to investigating what's possible in a space we like to call theatre. In place of psychological realism and people going round a couch on a fake set, I created events from walking patterns with actors clothed in business suits and briefcases. At certain moments the performers jumped together, changed direction, moved in unison, set out on their own, came together as a group, moved in slow motion, etc, etc. All of the events were “Fact-Driven” and all compelling to watch. The patterns were organized into loops. First a group of 3 walked together, then 4, then faster, then another larger group—and changes I built in the patterns gave something for the audience to hang onto. It was a new and different kind of theatre narrative. It was organized around the musicality of movement in space, and performed by actors. It was poetic. The patterns (what I like to call loops) sped up, became tighter and created an undeniable emotional tension in the space. I was determined to make a kind of theater that was more awake: innovative, gritty, visually and spatially aware -- and that embraced theatres abstract power.