 FIRST SUBURB
Let me take you back to the suburbs. Back to that planned community which only exists in our imaginations. Let's steal from our parents' liquor cabinet. Let's wear black lipstick and thrift store flannel. Let's attempt to parse meanings from past events. Here, I made you a mix tape. Come, let's recreate what never happened. by Chana Porter directed by Eric Powell Holm Nov. 27, 28, 29 (Friday-Sunday*) Dec. 3, 4, 5, 6 (Thursday-Sunday) Thursday-Saturday shows at 8pm; Sunday shows at 5pm. Doors open half an hour before the show. *Come party with us Thanksgiving weekend, 90's style.  The Consequences, Volume 2
Saturday. November 14th. 8pm. THE CONSEQUENCES is a night of short performances that combine theater, comics, dance, illustration, puppetry, design, music and more to answer the question, “What happens when graphic art meets live movement?” The answers may surprise you. Our second installment of THE CONSEQUENCES will feature the following performances: SAM HENDERSON’s MAGIC WHISTLE: Twice-weekly web strip and cartoons read live for you, the viewer. SNAK STOREEZ, by Sarah Todes: Bite-Sized Dramadies about Snax - Once you pop the top, the existential crisis don't stop. HERO HOW TO – SIDE B, from DUSKY PROJECTS: A new chapter in the multi-platform project “The Last Days of Kartika,” further exploring the would-be hero Dusky Diana and the fictitious city of Kartika. FUNNY FRIGHTS, from PLAYLAB NYC: A black-light toy theater presentation that combines vintage Halloween sound effects records with an amusement park dark-ride. THE ARTIST IS HUMAN, by KATARINA SOLSTICE, HUMAN WOMAN: Katarina will sit across from you in a chair while she is present... and HUMAN. DO NOT MISS THIS ONCE-IN-A-LIFETIME CONFLUENCE OF KINETIC VISUAL DELIGHTS. Presented by The Pragmatists (Hope Cartelli & Jeff Lewonczyk) TheConsequences.org  Drama of Works presents...
SLEEPY HOLLOW Having its world premiere at Abrons Art Center Halloween of 2006, "Sleepy Hollow" has since been performed in Serbia, Indonesia, Finland and most recently this summer in Connecticut at the International Puppeteers of America Festival. For the first time in nine years Drama of Works's large-scale shadow puppetry silent movie exploration of the Irving classic with original musical score will be presented in New York City. Don't miss this rare opportunity to see a fall classic. Only 35 seats available for each performance! Thursday, November 5th - Saturday, November 7th, 8pm Sunday, November 8th, 5pm TWO ADDED SHOWS! Thursday, November 12th, 8pm Friday, November 13th, 8pm Based on the short story by Washington Irving Original musical score by Vivian Fung Directed by Gretchen Van Lente Designed by James Walton Performed by Deborah Beshaw, Amy Carrigan, Scott Weber, and Meghan Williams The recorded score is performed by Paul Han, tenor; Meredith Lustig, soprano; Sean Riley, violin; Jonah Thomas, cello; Stephanie Wu, piano. "Sleepy Hollow" is a Henson award-winning shadow puppet theater piece adapting the classic Washington Irving tale "The Legend of Sleepy Hollow" (originally published in 1820). It is a 45-minute piece with original music incorporating voice, strings, piano and foley sound effects. A giant quilted screen covers the entire stage and all forms of shadow puppetry are employed to create this unique piece of theater: traditional shadow techniques, physical shadow acting, Victorian silhouette, silent film-esque title slides, dynamic lighting techniques and special shadow effects designed specifically for the show. It was developed as a part of the prestigious Dream Music Puppetry Program at HERE Arts Center as a part of their HARP residency program, under the guidance of Basil Twist, and with feedback from artists as diverse as performance artist Taylor Mac, playwright Lisa D'Amour and choreographer Alexandra Beller. "Sleepy Hollow is elegant and effective, incorporating projected passages from Irving's text... The line of the projected figures effectively evokes nineteenth-century America even as the variety of techniques employed by Van Lente and her puppeteers marks the production as decidedly contemporary" -Performing Arts Journal. |