An evening at Cloud City of music and theatre.
The 7 Person Chair Pyramid High Wire Act
Hell's Bells Percussion Group, performing Science is Only a Sometimes Friend by Aaron Siegel
About the play The 7 Person Chair Pyramid High Wire Act:
presented by Der Vorführeffekt Theatre
(folks you might recognize from The Missoula Oblongata and Less Miserable)
In the wilds of Siberia, Charles Darwin goes off search of the Yeti. The Yeti (if she exists) enters a radio station’s dance contest, hoping to win an all-expenses-paid vacation to a place that doesn’t exist yet. Darwin’s research companion—a little brown bat—tries to win back the love of the radio station’s electromagnetic emissions—but how could that ever end happily? Meanwhile, Siberia’s caves are home to a secretive tribe of ropemakers—but their disintegrating family structure may cause their ancient craft to be lost forever. Through the lens of the real life allegory of the Flying Wallendas’ famous high-wire act, two performers on a tiny stage unfold Darwin’s laboratory, unfurl anatomic diagrams of the yeti, and try to tease out the difference between miracles and non-miracles.
[Written by Donna Oblongata (member of The Missoula Oblongata, Wham City, and producer/director of the 2012 production Less Miserable). Designed and performed by Donna Oblongata & Patrick Costello (visual artist extraordinaire and also a star of Less Miserable). Directed by Sarah Lowry (member of The Missoula Oblongata, assistant director of Less Miserable)]
Hell's Bells Percussion Group is:
More about Aaron Siegel's mesmerizing work:
"Science is Only a Sometimes Friend is scored for eight glockenspiels and organ. The constant chiming of the glockenspiels creates a halo of harmonic activity around the performers that shifts depending upon the location of the listener. This mysterious whistle is anticipated, yet oddly vague, sometimes more present and other times hidden. The piece tests the science of attention and the counterpoint of daydreams." -Lockstep Records
“Hypnotic cloud of chiming tones” – The New Yorker