June 28-29, 2019 / 8:00pm @ Collapsable Hole
The two Jim's, Dawson and Findlay, have been working with performer/creator Cyrus Moshrefi on a new work that collides the things the 3 of them are thinking about these United States vis a vis Walt Whitman, John Brown, the slave owning founders and our own fantasies of patriotic frottage and nausea.
We've been asking ourselves how in the god forsaken fuck we got to this point of what feels like the end. Of both our promise as a country and two+ centuries of willful lies.
We don't have any answers. But we're happy if you want to come see us make a ruckus about it.
Design collaboration with the always great Andreea Mincic + some tattered textual tinkering by Jeff Jackson.
RSVP via email to hold a spot: firstname.lastname@example.org
limited space but you can always just show up
$20 cash money or some old grift
*30/70 chance of special guests, 100/100 chance of refreshing beverages, with a chance of scattered guillotines
July 8, 2019 @ Pioneer Works
yes, the alien invasion comes from deep space, but has already invaded your mind...
William Burroughs’ NOVA trilogy is a both an intergalactic fever dream on addiction and simultaneously a manual for weaponized media war that predicts and satirizes our current online life. DECODER: Ticket that Exploded reimagines the second book of Burroughs’ trilogy as a live performance of broken media hallucinations, living text cutup, and full frequency psychedelia spun from mangled audio tape. An alien presence is revealed as the sticky complicity of the inner double agent. Watch a live enacting of Burroughs’ prescient words taken to their terrible conclusions.
159 Pioneer Street
Red Hook, Brooklyn
In development May 22 - June 1, 2019
In development April 1-21, 2019
In development February 4 - March 4, 2019 / Performances at TILT Festival at Abrons Arts Center in March 2019
In development January 26-31, 2019
January 5-7, 2019 @ CultureHub
Archive: This Was The End is at once an artifact and experience — the afterlife of a performance as interactive sculpture. Here, you are the actor, and a wall — salvaged from the old PS 122 community center — is the physical manifestation of a memory of a play, which your presence activates and disrupts.
47 Great Jones St. 3rd Floor
Gallery Hours: January 5-7, 2019
Saturday 1/5/19 12pm-6pm
Sunday 1/6/19 11am-5pm
Monday 1/7/19 10am-2pm
In development December 10-16, 2018 / Performances January 3-13, 2019
Hungry and hoping to make a killing on the dinner theater circuit, Radiohole presents its new work Now Serving: A Guide to Aesthetic Etiquette in Four Courses. Join the members of Radiohole for an American Family Dinner just as they experienced it during their residency at the Emily Post Institute.
In development November 5 - December 9, 2018
Performances October 20 - November 3, 2018
some higher glimmer in our landscape of flat is a journey play that traverses the double-edged sword of solitude, exploring motherhood, depression, isolation, "femininity", and catastrophe both mundane and global. It's musical, choreographic, apocalyptic, genre-bending and giggle-inducing, and makes space for every character to challenge the narrative with their most deeply-felt failures and most secret desires.
Written by Cara Scarmack (2017/18 Buran Theatre CartHorse Fellow. Directed by Sarah Hughes. Original music by John Gasper.
Featuring performances by, Laurena Allan*, Kate Benson*, Lanxing Fu, LaToya Lewis, Gavin Price, Manny Rivera, Kate Schroeder, Merlin Whitehawk*
Choreographed by Lisa Nevada. Set design by Carolyn Mraz & Cori Williams. Lighting/projection design by Jeanette Oi-Suk Yew. Costume design by Peiyi Wong. Sound design by Gavin Price. Music direction by Alaina Ferris. Stage management by Manny Rivera. Assistant stage management by Geoffrey Kinsey. Technical direction by Nicholas Kostner. Artwork/documentation by David Pym. Costume assistance by Christine Berringer. Lighting assistance by Tomas Del Valle and Christina Tang.
*appearing courtesy of Actors' Equity Association
Glad to See You Go, Radiohole's 14th original performance project, is being developed in residency at the Collapsable Hole in the winter and spring of 2018. Performances for the public will be held in early June at the Collapsable Hole in 2018. Glad to See You Go is funded in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs.
June 7-16, 2018 / Thu-Sat @ 8pm, Sun @ 3pm
Limited Run: 7 shows only
Mabou Mines @ 122cc
150 1st Avenue, Manhattan
In this Obie and Bessie Award winning remix of Chekhov’s Uncle Vanya, a quartet of older actors and a cassette tape DJ transform a wall from the Mabou Mines old studio into a life-sized time capsule. Architecture and theatrical legacy conspire to ask: What do we do with our past? What can we make of it? Past and present converge as the wall comes home to Mabou Mines’ new theater.
April 5-7, 2018 @ 8pm
Sex, laughs, and villains galore!
You are cordially invited to a work-in-progress showing of a new play created by Amanda Bender and Jake Denney. This is the first production of their theater collective, Our Derrière (until we think of a better name).
Major Freak is a celebration of modern morality and its terrible joys...or whatever.
Come for the tequila, stay because it would be weird to leave.
Linda von Egmond
January 9-13, 2018 @ 8pm
Jim Findlay’s Electric Lucifer premiered at The Kitchen in January 2018. Electric Lucifer is an electronic rock opera about suffering and redemption based on the 1970s concept albums of the late Canadian electronic music pioneer Bruce Haack.
This project was developed in residency at the Collapsable Hole in November and December 2017.
Electric Lucifer is written and directed by Jim Findlay, with music and lyrics by Bruce Haack, musical adaptation and additional original music by Philip White, choreography by Raja Feather Kelly, set and video design by Jeff Sugg and Findlay, lighting design by Masha Tsimring, costume design by Enver Chakartash, sound design by Philip White, and dramaturgy by Ian Belton. The cast features Okwui Okpokwasili as The Electric Lucifer, Robert M. Johanson as Jesus, Brendan Connelly as the Archangel Gabriel, and Seth Braley, Nikki Colange, Jake Denney, Amy Gernux, and Cyrus Moshrefi as Lucifer’s “Silverheads.” The band includes Connolly, Shayna Dunkelman, Nathan Koci, and Lester St. Louis.
Electric Lucifer is a Creative Capital project. It is funded in part by the Foundation for Contemporary Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council, PS122 and the Nancy Quinn Fund. Electric Lucifer was developed in residencies at Mount Tremper Arts, MacDowell Colony and the Collapsable Hole. Produced by Collapsable Giraffe and Joel Bassin.
November 15-19, 2017 @ 7:45pm
Presented by New York Live Arts
Marjani Forté-Saunders teams up with media designer Meena Murugesan, sound designer Everett Saunders, set designer Mimi Lien, lighting designer Tuce Yasak, and her own father as set builder, for a dynamic evening of storytelling that weaves historic and personal narratives into an embodied tale of fragmented loss, metaphysical warrior-ship, and abiding love.
October 26-27, 2017 @ 8pm
The Recipe is an episodic live cooking show where a dessert is demonstrated, prepared, and served to an audience in real time. Every show is different with a new recipe shared. In this episode - All Hallows' Eve: death, The Greatest, rebirth; flour, water, yeast. Come celebrate the season of death, and bury what's passed.
Dessert and a drink will be served during the show.
Created and Performed by Kristin Worrall
with Stephen Woodall
Directed by Matt Korahais
Video by David Pym
October 12-20, 2017 @ 8pm
The award-winning New York Neo-Futurists are pleased to announce the New York premiere of Happy To See You, created and directed by Cara Francis. It will run at the The Collapsable Hole in October.
A meditation on the complex relationships that humans develop with the virtual spaces they inhabit, pass through, and engage with every day, Happy To See You interviews its audience members on their social media habits, their feelings about artificial intelligence and their experience living a virtual life in a physical world. A different unsuspecting audience member each night will engage in conversation with the disembodied voice of an open-ended dialogue system and see themselves reflected by a series of cameras beginning with their own smart phone. In addition to an opportunity to “be truly seen by your friends, your peers, your strangers, and an invisible network of algorithms collecting your data directly from your mind’s eye”, selected audience members will receive the chance to enter a virtual reality paradise of their choosing in front of the remaining audience for an unreproducible interactive media experience.