Below are some reels from pieces I've produced in festivals, ranging from short pieces in 24-hour festivals to full scale original or adapted productions. I love working on short pieces because they have such high potential for exploration since the scope of the material is always within grasp and the stakes are relatively low compared to more full scale productions. This type of freedom and creativity always lead to discoveries that bleed into my other work regularly.
For Nuance Theatre 24 Hour Fest's MOONFALL, I assembled my favorite artists into one room for a day and we came out with this abstract piece that centered around a world where the moon was falling to the Earth and thus ending life. The play focused on memories and experience seen through stylized movement motifs. The piece even featured original music inspired by the festival's required line of dialogue: "Tis the very witching time of night,"--and Moonfall was.
This was a piece I co-choreographed with Megan Doyle for Will Taylor's On One Condition series performed at Dixon Place. This is a night of original pieces from different choreographers that all included the same prompt. For this particular performance, the prompt was to use plastic wrap. Our piece explored a moment in the middle of the night when someone can't go to sleep because her upstairs neighbors are so loud with their love making and the memories of lost love and feelings of present loneliness that go along with that inconvenience. The dancers used the plastic wrap as a sound effect to symbolize the noise waking up our protagonist.
This was a short piece I directed in Eager Risk Theater Company's 2015 Shoebox Festival of Magical Realism. This beautiful and somewhat surreal play delved into connection and creation through the use of dust particles in the universe as a metaphor. The actors and I based our work around relationship through touch and connection through string throughout the presentational delivery.
I adapted King Lear into a lean, 70 minute, highly conceptual, movement-based piece. Set to a soundtrack of Radiohead and Coldplay and with a design backdrop of gray scale paint splatters, bare feet, and Edison lightbulbs, the company and I explored an entirely new movement language that added a new dimension to Shakespeare's elevated utterances.