Partnering with Alvaro Montelongo—Rich’s fellow graduate of the inaugural class of USC’s GloryaKaufman School of Dance—the performers diagram an encounter between sailors in opposition, communicating desire and fear through anguished movement and deferred symmetries.
The music for BL**DY SPAGHETTI is by Cody Perkins, and the wardrobe by Pierre of No Sesso.*
See “Warm Bodies, No Sesso—The Art of Pierre Davis.”PARIS LA 16 (2018): 136–143.
As part of Week Three of Redcat’s NEW ORIGINAL WORKS FESTIVAL 2019, Bonnell presents PARADISE ISLAND, “a new work of theater that compresses a decade of writing into an evening-long performance. We are giving new life back into what could soon be forgotten texts of downtown loft-era performance throughout the ’70s.”
Based on Foreman’s writings from 1973 to 1983, PARADISE ISLAND is “part retrospective, part future-bending reinvention, [bringing] new life to one of America’s most influential experimental artists.”*
Also on the bill at Redcat: Austyn Rich’s BL**DY SPAGHETTI, and Source Material’s new music-theater work A THOUSAND TONGUES, performed by Nini Julia Bang and directed by Samantha Shay.
The second weekend of one-of-a-kind disruptions, investigations, and interventions that make up Redcat’s NEW ORIGINAL WORKS FESTIVAL 2019 includes performances by Kate Watson-Wallace, Hprizm, Verónica Casado Hernández , Alexandro Segade, Amy Ruhl, and PaulOutlaw—who was recently seen stealing the show in Boston Court’s transgressive production of A Streetcar Named Desire.
“Pulsating to the imagistic nature of Helado Negro’s cosmic synth-folk sounds, THE MUSES renders a suite of lush and riotous dances that conjures a communal space in celebration of the divine feminine.”*
There are two more nights of Week Two of Redcat’s indispensable NOW FESTIVAL 2018.
The weekend bill includes Milka Djordjevich’s CORPS (her new collaboration with composer Chris Peck), Sebastian Hernandez’s piece for three dancers HYPANTHIUM, and KyungHwa Lee’s MALLEABLE BODIES—FLUSSER, PLASTICITY, AND THE CORSET, an installation/critique utilizing 3-D printing, virtual reality, and six performing bodies.