“[Ken Jacobs], cinema’s master inter- and reinventionist, [has] found yet another way to make the medium new, employing a logarithim to rework a thirty-second fragment of a 1897 Lumière actualité into a seventy-three minute 3D movie wherein space regularly inverts itself. Kinda has to be seen to be believed.” — J. Hoberman on THE GUESTS, Artforum
Experimental filmmaker Ken Jacobs is out and about this week for public conversations, screenings, and Q & As.
In conjunction with the exhibition 3D—DOUBLE VISION:
Sunday, October 7, at 1 pm.
Bing Theater, LACMA, 5905 Wilshire Boulevard, Los Angeles.
Nervous Magic Lantern performance with live sound by Aki Onda:Monday, October 8, at 8:30 pm.Redcat, 631 West 2nd Street, downtown Los Angeles..Los Angeles premiere:THE GUESTS , directed by Ken JacobsTuesday, October 9, at 8 pm.Downtown Independent, 251 South Main Street, downtown Los Angeles.
“He was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine… Strayhorn does a lot of the work but I get to take the bows!” — Duke Ellington*
Songwriter and pianist Billy Strayhorn (1915–1967) was Ellington’s alter ego who wrote and arranged many of the significant works in the Ellington catalogue, including “Take the ‘A’ Train” and “Chelsea Bridge.”
Cushioned by a loving circle—Lena Horne was his best friend and Ellington covered all of his living and wardrobe expenses for many years—Strayhorn is best remembered for his café-society standard “Lush Life,” which brilliantly captures the gay composer’s tragically romantic, cocktail-infused view of the world.
The world premiere of HALFWAY TO DAWN—choreographer and director David Roussève’s tribute to Strayhorn—is on REDCAT’s stage for three nights and a Sunday matinee. This psychological investigation in dance is an essential engagement on the fall calendar.
Thursday through Saturday, October 4, 5, and 6, at 8:30.
Sunday, October 7, at 3 pm.
REDCAT, 631 West 2nd Street, downtown Los Angeles.
See David Hajdu, Lush Life: A Biography of Billy Strayhorn (New York: Farrar, Straus and Giroux, 1996).
* Duke Ellington, Music is My Mistress (New York: Doubleday, 1973).
Top: Billy Strayhorn (right) and Duke Ellington.
All performance photos: David Roussève, Halfway to Dawn. Photographs by Rose Eichenbaum. Image credit: Redcat.
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.
Thursday through Saturday, July 26, 27, and 28, at 8:30 pm.
631 West 2nd Street, downtown Los Angeles.
Week Three begins on Thursday, August 2.
Top: Milka Djordjevich, Corps.
Above: Sebastian Hernandez, Hypanthium.
Below: Hernandez. Image credit: Redcat.
The animator and performer Miwa Matreyek will collaborate with five-octave vocalist Morgan Sorne this week as part of Week One of Redcat’s NOW FESTIVAL 2018.
EAT YOUR YOUNG is a “visual kaleidoscope of complex shape-shifting imagery of the anthropocene,” and will be performed nightly.*
Also on the bill: SOLID, LIKE A ROCK—a dance piece from choreographer Jmy James Kidd and composer-instrumentalist Tara Jane O’Neil—and HOW MANY YEARS DID WE FIGHT THE BEAST TOGETHER, a collaboration between singer-composer Jasmine Orpilla and Peter Deguzman, the artistic director of Malaya Filipino-American Dance Arts.
MIWA MATREYEK and MORGAN SORNE—EAT YOUR YOUNG
Thursday through Saturday, July 19, 20, and 21, at 8:30 pm.
REDCAT, Disney Hall, 631 West 2nd Street, downtown Los Angeles.
Miwa Matreyek (above) and Morgan Sorne.
In A TATTOOED MAN—Alex Almaraz’s autobiographical piece recently seen at Highways and returning to the stage this weekend at Redcat—his “choreographic choices reveal a deeply emotional story; his style of movement convey intense vulnerability. With repetitive shaking and swaying motifs, as well as combating gestures conjuring simultaneous pride and desperation, A TATTOOED MAN is nuanced and heart-breaking. Throughout his performance, Almaraz presented a model of art as personal language and intrapersonal communication.” — Taliah Mancini*
ALEX ALMARAZ—A TATTOOED MAN
STUDIO—SPRING 2018, Saturday and Sunday, June 9 and 10, at 8:30 pm.
REDCAT, Disney Hall, 631 West 2nd Street, Music Center, downtown Los Angeles.
Alex Almaraz. Photograph by Cooper Bates.