Category Archives: THEATER

HILTON ALS — LIVES OF THE PERFORMERS

Performers really write with their bodies. If you give them a piece of writing, it becomes a completely different thing once it’s spoken and acted by a performer. The strange alchemy that they’re able to do has everything to do with energy and the force of their imagination…

What I love about actors, really, is that they only have their history and their observation of the world to call on. It’s actually sort of like learning how to play poker really well: you have to make that decision so quickly… They’re in touch with the cosmic reality of life and also the memory of life. In the way that writers excavate, actors embody.Hilton Als, PARIS LA 16

LAXART and the Huntington Library, Art Museum, and Botanical Gardens present LIVES OF THE PERFORMERS, a work-in-progress by Hilton Als.

The piece is directed by Peter Born and will be performed by Helga Davis and Victoire Charles—the Los Angeles stand-in for Okwui Okpokwasili, who was in a previous iteration.

LIVES OF THE PERFORMERS

Sunday and Monday, November 17 and 18, at 7:30 pm.

LAXART

7000 Santa Monica Boulevard, Los Angeles.

Hilton Als, Lives of the Performers, from top: Helga Davis in performance at Triple Canopy; Davis; Victoire Charles; Hilton Als at the Soho Playhouse, New York City, January 19, 2018, photograph by Ali Smith; Davis and Okwui Okpokwasili at Triple Canopy. Images courtesy and © the author, the performers, and the photographers.

ÉDOUARD LOUIS, STAGED

In conjunction with the theatrical production of two plays based on his books, Édouard Louis will give a talk—moderated by the New Yorker theater critic Alexandra Schwartz—at the Brooklyn Academy of Music.

Co-presented by BAM and St. Ann’s Warehouse, performances of Thomas Ostermeier, Florian Borchmeyer, and Louis’ adaptation of HISTORY OF VIOLENCE begin at St. Ann’s on November 13. THE END OF EDDY—adapted by Pamela Carter—starts at BAM the following night.

ÉDOUARD LOUIS IN CONVERSATION

Monday, November 11, at 7 pm.

BAM Fisher, Fishman Space

321 Ashland Place, Brooklyn.

From top: Laurenz Laufenberg (left) and Renato Schuch in History of Violence; Laufenberg, Schuch, and Alina Stiegler; Laufenberg and Schuch; Oseloka Obi (left) and James Russell-Morley in The End of Eddy; Russell-Morley and Obi; Stiegler and Laufenberg; Laufenberg (on ground). History of Violence photographs by Arno Declair; The End of Eddy photographs by Sarah Walker. Images courtesy and © the producers, the performers, and the photographers.

MICHAEL KEEGAN-DOLAN’S SWAN LAKE

Matthew Bourne, with his aggressive male swans and nightclub scenes, took Swan Lake in one direction. Michael Keegan-Dolan’s short, Tchaikovsky-free take—LOCH NA HEALA (SWAN LAKE)—goes somewhere else altogether. Inspired by a number of folktales, including “The Children of Lir,” and updated to present-day Ireland, Keegan-Dolan gives us predatory priests, suicidal depressives, and Mikel Murfi as a goat, leading up to an exhilarating, shambolic climax.

This dance-theater-performance art hybrid—performed by Keegan-Dolan’s company, Teaċ Daṁsa, and co-presented by UCLA’s Center for the Art of Performance and the Ford Theatres—will be at Royce Hall for one night only. The trio Slow Moving Clouds will perform their score onstage.

LOCH NA HEALA (SWAN LAKE)

Saturday, November 9, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

Michael Keegan-Dolan / Teaċ Daṁsa, Loch na hEala (Swan Lake), November 9, 2019, Royce Hall, UCLA, from top: Rachel Poirier (left) and Alex Leonhartsberger (foreground); Michael Murfi, (left) Leonhartsberger (sitting), Erik Nevin, Zen Jefferson and Keir Patrick; Leonhartsberger (left), Patrick, Murfi, Nevin, Jefferson, and Dr. Elizabeth Cameron Dalman; Murfi, Nevin, Dalman, and Patrick; Poirier, Latisha Sparks, Carys Staton, and Anna Kaszuba. Photographs by Reed Hutchinson, images courtesy and © the photographer, the choreographer, the artists, and CAP UCLA.

PETER MARK’S HA-M-LET

HA-M-LET—created and performed by Los Angeles-based theater artist Peter Mark—is a “multi-lingual, multimedia performance housed within a projection cube. Sourcing material from Shakespeare’s play, pop internet culture, home videos, and 3D animation, the projected image becomes landscape, body, narrative, and biography—shifting at a rate which pays homage to Hamlet’s own velocity of thought.”*

Presented by CalArts Center for New Performance and Hauser & Wirth, Mark will perform HA-M-LET this week at the gallery’s Arts District location.

HA-M-LET*

Friday, November 8, at 7:30 pm and 9 pm.

Hauser & Wirth

901 East 3rd Street, downtown Los Angeles.

Peter Mark, HA-M-LET, 2019. Images courtesy and © the artist.

WITKACY — WEEK TWO

Studio Teatrgaleria artistic director Natalia Korczakowska—keeping Poland’s avant-garde alive amidst a nationalist threat—has adapted and staged the writings of Stanislaw Ignacy Witkiewicz to exhilarating end in WITKACY / TWO-HEADED CALF, a performance art-theater piece now in its second week at Redcat.

Shaped with delicacy, precision, and waves of comedic velocity, this hallucinatory family satire brings together a brilliant band of Polish actors with a group of young American players associated with the CalArts Center for New Performance., whose associate artistic director, Amanda Shank, will join Korczakowska tomorrow night for a pre-show conversation about the project.

WITKACY / TWO-HEADED CALF

Tuesday through Friday, October 22, 23, 24, and 25, at 8:30 pm.

PRE-SHOW CONVERSATION on Wednesday, October 23.

Redcat

631 West 2nd Street, downtown Los Angeles.

Stanislaw Ignacy Witkiewicz and Natalia KorczakowskaWITKACY/Two-Headed Calf, photographs by Monika Stolarska, Hao Feng, and Rafal Nowak. Images courtesy and © the director, the production companies, the performers, the photographers, and Redcat.