Showing posts with label Big Art Group. Show all posts
Showing posts with label Big Art Group. Show all posts

Friday, January 04, 2013

OK Radio


Kelley Copper and Pavol Liska are Nature Theater of Oklahoma. Nature Theater of Oklahoma has made some of the best works of theater in the past 10 years: No Dice, Poetics, Rambo Solo and Romeo and Juliet. They will be back in NYC for the first time in 3 years with Life and Times as part of the Under the Radar Festival, their epic 10+ hour new show.

But Kelley and Pavol have also launched OK Radio, an ongoing series of podcast interviews with other theater artists. There have been a dozen episodes to date and have included discussions with such artists as Big Art Group director Caden Manson, choreographer William Forsythe, director and SITI Company founder Anne Bogart, Young Jean Lee (twice!), the Wooster Group's Kate Valk, and Richard Foreman. They are some of the most interesting and informative conversations on record.

We promise you will learn something with each episode!

You can access OK Radio via iTunes: HERE

Wednesday, December 26, 2012

20 Favorite Shows of 2012

20 Favorite Shows of 2012:



1. Mission Drift 
(The TEAM/COIL Festival @ Connolly Theater)
The TEAM isn't afraid to tackle big issues, and their epic musical about the history of capitalism and home ownership in the US was no exception.  The fabulous music by Heather Christian was the icing on the already delicious cake! 

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2. The Big Meal 
(@ Playwrights Horizons)
Dan LeFranc's unofficial update of Thornton Wilder's The Long Christmas Dinner was absolutely perfect and the cast and the production equaled it in every way.

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3. We’re Gonna Die 
(Young Jean Lee @ LCT3)
Young Jean Lee did it again, and this time she did it front and center as the lead of a rock band called Future Wife.  The songs complimented the text perfectly. Lee is certainly wise way beyond her years!

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4. What Rhymes With America 
(@ Atlantic Theater)
 Melissa James Gibson's latest play may just be her best to date. Director, Daniel Aukin once again guides another excellent cast through Gibson's unique diologue.

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5. Ich Kurbisgeist 
(Big Dance Theater@ The Chocolate Factory)
It seemed like the cast of  Ich Kurbisgeist was having just as much fun as the audience at The Chocolate Factory.  This production was magical.


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6. 3C 
(Rattlestick Theater)
You either loved  David Adjmi's 3C, or you hated it.  We loved his brutally honest and hilarious interpretation of the famous 70s sitcom, Three's Company.

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7. Broke House 
(Big Art Group @ Abrons Arts Center)
Originally presented as part of the American Realness festival, Big Art Group's Broke House actually got better upon second viewing when it was re-staged in the Spring.  We can't think of a more accurate portrayal of life in 2012 America.


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8. Three Seagulls or MASHAMASHAMASHA! 
(Theater Reconstruction Ensemble @ HERE Arts Center)
This Chekhovian mashup was smart and funny, our two favorite attributes.  John Kurzynowski is a director to watch. 


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9. Rapture, Blister, Burn 
(@ Playwrights Horizons)
Gina Gionfriddo's latest play was a sober look at several generations of women, feminists if you will, and the unintended ways in which life choices have a way of sneaking up one.  It was a pleasure to see Amy Brenneman back on stage.


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10. Uncle Vanya 
(Target Margin @ HERE Arts Center)
David Herskovits' wide open take on Uncle Vanya make you feel as though you were watching a brand new play.  The terrific cast  played gamely along, most notably Edward O’Blenis as Astrov.


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11. David Gordon: The Matter 
(@ Danspace Project)
Whether it was watching Valda Setterfield dance along with a video of her younger self, or watching dozens of NYU students simultaneously perform The Chair with Ms. Setterfield, David Gordon: The Matter may have been the most moving evening we spent in the theater this year.


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12. The Past is a Grotesque Animal 
(@ The Public)
This Argentinian import that was part of both Under The Radar and COIL festivals was a pure theatrical delight.  Performed on a continuously rotating turntable, the nimble cast of four portrayed multiple characters as smoothly as the set spun.

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13. Natasha, Pierre and the Great Comet of 1812 
(@ Ars Nova)
Natasha, Pierre and the Great Comet of 1812 was more fun that any musical adaptation of War and Peace has any right to be.  It was thrillingly theatrical turn performed by the best ensemble this year.

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14. Through The Yellow Hour 
(@ Rattlestick Theater)
Adam Rapp's dystopian portrayal of a near-future Manhattan never wavered in its commitment or intensity.  From the moment you entered the theater, the set cast, sound and lighting and text grabbed you and never let go.

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15. You Better Sit Down 
(The Civilians @ The Flea)
Sub titled Tales From My Parents Divorce, The Civilians made and uncomfortable topic both touching and funny.  The cast of four, recounting their own stories, were perfect.


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16. Uncle Vanya 
(@ Soho Rep)
The second Vanya on this list couldn't have been more different that the Target Margin version.  But Annie Baker's casual adaptation worked perfectly in this quiet and intimate production.  Reed Birney, Maria Dizzia and Georgia Engel stood out in this tight ensemble.

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17. Mies Julie
(@ St. Ann’s Warehouse)
Hot, is the first word that comes to mind when thinking about Mies Julie.  Hilda Cronje and Bongile Mantsai were the steamiest couple on the NYC stage this year, and Yael Farber's production, set in South Africa, made Strindberg's play supremely contemporary.

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18. Five Lesbians Eating A Quiche 
(@ FringeNYC)
This Chicago import was probably the outright funniest play of 2012.  The ensemble was hilarious and Five Lesbians had, hands-down, the best stage effect or the year!



19. Gob Squad’s Kitchen (You’ve Never Had It So Good) 
(Under The Radar @ The Public)
Winner of the Drama Desk Award for Unique Theatrical Experience,  Gob Squad’s Kitchen hilariously recreated the famous Andy Warhol films Kitchen, Sleep and Screen Test until the actors invite audience members to take their place on stage and on screen.  We usually hate audience participation, but Gob Squad almost makes us want to reconsider.

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20. Port Out, Starboard Home
(@ LaMama)
A creepy cruise may either sound oxymoronic or redundant depending upon your point of view.  In a way Port Out, Starboard Home by Sheila Callaghan makes a case for the latter but definitely letting you laugh (often) throughout.

Friday, December 25, 2009

10 Favorites of 2009

Sixty Miles to Silver Lake by Dan LeFranc; directed by Anne Kauffman; co-production by Page 73 and Soho Rep (at Soho Rep)


SOS –created by Caden Manson and Jemma Nelson; Big Art Group (at The Kitchen)


Bloody, Bloody Andrew Jackson - Written and directed by Alex Timbers; music and lyrics by Michael Friedman; Les Freres Corbusier (at The Public)


Thirst(y) - (mostly) by Eugene O’Neill; directed by Michael Levinton; Target Margin Theater (at The Chocolate Factory)


The Event – written and directed by John Clancy; Clancy Productions/FringeNYC (at Players Theater)


In The Next Room (or The Vibrator Play) – by Sarah Ruhl; directed by Les Waters; Lincoln Center Theater (at Lyceum Theater)


Circle Mirror Transformation – by Annie Baker; directed by Sam Gold; Playwrights Horizons (at Peter J. Sharp Theater)


THIS – by Melissa James Gibson; directed by Daniel Aukin; Playwrights Horizons (at Playwrights Horizons Mainstage Theater)


Brief Encounter - Adapted and Directed by Emma Rice; Kneehigh Theatre (at St. Ann’s Warehouse)


Romeo & Juliet - Conceived and directed by Pavol Liska and Kelly Copper; Nature Theater of Oklahoma (at The Kitchen)

*****

And very honorable mentions to: Gina Gionfriddo's BECKY SHAW at Second Stage, Nature Theater of Oklahoma's RAMBO SOLO at Soho Rep, Cynthia Hopkins' THE SUCCESS OF FAILURE (OR, THE FAILURE OF SUCCESS), Buddy Thomas' DEVIL BOYS FROM BEYOND at the Fringe and three past shows that I revisited this year and found that I loved them as much this year as the first time I saw them: Mabou Mines's DOLLHOUSE, Chicago's Hell in a Handbag's POSEIDON (AN UPSIDEDOWN MUSICAL) and Len Jenkin's THE DREAM EXPRESS.

Sunday, June 28, 2009

Big Art Group's Cinema Fury: The Imitation (HOT! Festival)

Cinema Fury, an ongoing series of experimental video art and musical collaborations; a spontaneous, open framework continually in production and evolution, resulting in special performance events.

For Cinema Fury:The Imitation, Big Art Group collaborates with notable New York-based musical figures Theo Kogan and Sean Pierce, and Tony-nominated singer/actor Justin Bond. Theo Kogan is well known as a founding member and lead vocalist from seminal all female punk band the Lunachicks and Sean Pierce is equally renowned for his previous band, The Toilet Boys, a cutting-edge queer-metal-punk band.

Caden Manson / Big Art Group
Cinema Fury:The Imitation
feat. Justin Bond + Theo Kogan
Thursday, July 2 at 8:00 pm
Dixon Place Laboratory Theater
161 Chrystie Street, New York, NY
Tickets $15 in advance / $18 at the door

For Tickets: Click Here or call 212-352-3101.

Friday, March 13, 2009

9 Questions for Caden Manson (Big Art Group)

Big Art Group's newest show, SOS, opens next week (March 19th) at The Kitchen. We sent over some questions for Artistic Director, Caden Manson and he was kind enough to send us his answers!

1. Who are some of your professional influences?

I have a big list of artists that I admire! Its a shout out - click away. Romeo Castellucci, Theo Kogan and Sean Pierce, Meg Stuart, David Altmejd, Paper Rad, Justin Bond, M. Lamar,, Rachid Ouramdane, Trajal Harrell, DD Dorvillier, Koosil-ja, Muta Imago, Nick Cave (artist not singer), Alain Platel,Frank Castorf,René Pollesch,Selene Luna,Jack Smith, Nibroll, A.L. Steiner, Paul McCarthy,and Dynasty Handbag to name a few.

2 .How has you work changed over the years?

The work has become physically bigger, conceptually more layered and thematically denser. It is definitely more aggressive in its relationship to an audience and to the performance form in general.


3. What is the most challenging part of creating multi-media work?

Finding a space in New York that we can afford to set down in for the duration of a creation process. With multi-media, it's important that the technology be with you from the start so that its organic and grows with the performers and conceptual and formal equations.


4. Can you name a work you've seen in the past 12 months that is particularly memorable?

There is a piece that has stuck with me for three years now. In 2006 I saw Ann Liv Young's piece called Solo (there are three people in it). I still can't get it out of my head. I haven't been surprised like that in a long time. In the last 12 months I had the chance to see a rehearsal of Romeo Castalucci's new piece based on Dante's Inferno. It was the Purgatorio section and I saw it in a theatre in Italy that we have performed in a few times. There were moments in the piece where I couldn't tell how something was being made. It became a kind of monstrous illusion. I kept having to check my self to make sure I was still seeing what I thought I was seeing. After it was over the entire audience sat there in silence for the longest time trying to get there bearings again. The piece is a formal and stylistic departure from his past work. I think it will be in LA next year. I hope it comes to Montclair.


5. Is there an idea for a piece that has intimidated you and that you have not attempted?
I'm methodical about my work. If I have an idea for a piece nothing really gets in my way. I find intimidation attractive as an obstacle.

6. Do you consider your work political?

Creating performance in America is a political act in and of itself. It is a creation without physical product that is an anathema to our capitalist culture. Beyond that, our work has a political point in its content and formal equations. The spoken text in the pieces is anti-theatrical and precisely political in it use and content. The formal aspects of the performances highlight the fissures in image construction and communication as well as the liquidness of identity.

7. What discourages you?

What discourages me is also what drives me to find ways around it to create work. SPACE!, TIME!, MONEY!


8. Your work is seen around the world, how do critics differ in other countries?

In the US we are working from within the Image Spectacle; subverting the messages and scrambling the codes. An American audience has a harder time breaking the shell of the pieces, because they are living them also. Outside of the US the work is viewed from a critical and cultural distance. Foreign audiences, because of their cultural distance, can mostly see though the shinny exterior of the work to the critique that lies under its skin.


9. What's next?

2009 is Big Art Group's 10th year. I'm very proud of the work the group has done and am really fortunate to have had the chance to work with such an amazing ensemble of artists. For the 2009/2010 season of Big Art Group we are planning a season at home in NYC. We'll be bouncing around to different venues and performing and presenting as much as possible. We are planning performance installations based on our early works The Balladeer, Shelf Life, and Ficker; Two new works in the Cinema Fury Project - The Sleep and The Dogs, Actions (installation/performance/parties) all season long, a new group work called NO SHOW and a big party to celebrate our 10 years of NYC survival.




SOS
Caden Manson / Big Art Group

The Kitchen - NYC
March 19-21 & 26-28, 2009

For Tickets and Info : CLICK HERE

Friday, February 13, 2009

Coming Soon: Big Art Group's SOS

SOS
Caden Manson / Big Art Group

Temps de Images Festival - Montreal, CA
February 24-27, 2009

The Kitchen - NYC
March 19-21 & 26-28, 2009

REDCAT Los Angels
April 8 - 12, 2009

Yerba Buena Center for the Arts - San Francisco
April 23-25, 2009

The always-provocative New York ensemble has won an international reputation for pushing the limits of performance and video art by lacing its original hall-of-mirrors multimedia stagecraft with flurries of livewire choreographed action. Its latest opus, SOS, jumps off from the primal themes of The Rite of Spring to stage their own contemporary rite of rebirth through a panoptic live video installation. Everyday rituals of renewal are abstracted and refracted in video, morphed into metaphors of war and environmental degradation--and set into a mediated celebration of sustainability, survivalism, immolation and revolution.

For info about Big Art Group: CLICK HERE

For Tickets and Info about the NYC run of SOS: CLICK HERE

CLICK HERE for "9 Questions for Caden Manson"
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