Over the course of six days, the 2011 Festival featured 37 productions and over 130 performances and events.
The 2011 Festival also added three new components to the Festival to make the process of creating new work more dynamic and transparent:
- The Dramaturgy SWAT Team provided outside response to rehearsals and assistance with rewrites.
- The Reading Room provided a space to share plays in progress,
- The Engaging Research Committee resented new forms and expressions of the many kinds of research done in, around and about performance.
Since its inception, the Festival has become so much more than a biennial event. It has become a creative catalyst to fuel the development and production of new work that stands at the core of our curricula; its rhythm is the heartbeat of the Department of Theatre and Dance and a call to action for the College of Fine Arts.
Download the 2011 Festival Guide (Adobe PDF)
Faculty Co-Producers: Denise Martel, Suzan Zeder, and David Justin
Assistant Producer: Sarah Coleman
Festival Production Manager: Jen Ash
Festival Technical Director: Tramaine Berryhill
PR/Marketing Committee Chair: Courtney Sale
PR/Marketing Committee Assistant Chair: Nicole Barnes
Guest Artist Committee Chair: Gabriel Jason Dean
Applications Committee Chair: Tom Horan
Applications Committee Assistant Chair: Katelyn Griffiths
Events Committee Co-Chairs: Haydee Antunano and Bianca Wugofsi
Engaging Research Committee Chair: Cassidy C. Browning
Dramaturgy Committee Chair: Carrie Kaplan
Webmaster: Nicole Barnes
Assistant Technical Director: Christy Howell
Lighting Designers: Rachel Atkinson, Ryan Andrus, Rene Castro, Eric Gazzillo, Trey Gilmore, Ryan Graham, Alex Lagunas, Kate Leahy, Cheng-Wei Teng
Performances: March 28 – April 2, 2011
Sites in and around the Winship Drama Building
Tickets: All events free and open to the public
The 2011 Festival is presented by the University Co-op. It is through their generosity that all events and performances are free and open to the public.
These thirteen artists were invited to spend the week among the new works created by the Festival artists. Through dialogue and feedback they provide an integral component of critical inquiry leading to progress in our artistic fields. The 2011 guest artists range from writer to actor, dramaturg to puppeteer. Please see the list below of the artists and their bios.
Ken Cerniglia is a dramaturg, writer and director. In addition to co-founding Two Turns Theatre Company in 2009 and producing The Turn of the Screw in a haunted house museum, recent projects include working with Seattle’s Fisher Ensemble to create Psyche, a multimedia chamber opera, and with American Records Theatre Company on ReEntry, a documentary play about U.S Marines and their families. By day he is dramaturg and literary manager for Disney Theatrical Group, where he has developed over forty shows for professional, amateur and school productions. Ken holds a Ph.D in theatre history and criticism from the University of Washington and presents and publishes his research internationally.
John M. Baker is the Literary Manager at Woolly Mammoth Theatre Company. He is the former Artistic Associate at Brooklyn-based Page 73 Productions and Literary Associate at The Eugene O’Neill Theater Center. He has previously working in the literary departments at The Riverside Theatre Company, Guthrie Theater, and Williamstown Theatre Festival. In addition to his work on classic plays, he has dramaturged new work with Juilliard, The Kennedy Center, and Seven Devils Playwrights Conference, among many others. He has recently worked with a variety of directors including Hal Brooks, Sam Gold, and Wendy Goldberg and playwrights Luis Alfaro, Neena Beber (Italian Sojourn), and Julia Cho (The Language Archive) just to name a few. He has taught at Boston Latin School, Fordham University, Marymount Manhattan College, Rutgers University, and the University of Iowa. John holds a BA in English from Boston University and an MFA in Dramaturgy from the University of Iowa.
Patrick Corbin joined the Paul Taylor Dance Company in 1989 after being a member of the Joffrey Ballet for four years. Patrick was featured in five PBS Great Performances between 1988 and 2004 and the 1998 Academy Award nominated documentary Dancemaker. In 2001 Corbin was the recipient of the New York Performance Award (Bessie) for Sustained Achievement with The Paul Taylor Dance Company. In 2005 Patrick danced with the Lar Lubovitch Dance Company and in 2010 he created a role in Martha Clarke’s Angel Reapers. Patrick has staged his own work as well as the work of Paul Taylor on companies through out the United States and founded his own company CorbinDances in 2003. As well as choreographing for CorbinDances Patrick has worked with Company C Contemporary Ballet, UC Irvine, James Sewell Ballet, University of Kansas and American Repertory Ballet.
Sherry Kramer’s plays have been seen at theaters across the country and abroad, including the Humana Festival at the Actors Theatre of Louiswille, InterAct Theatre, and Yale Repertory Theater just to name a few. She is a recipient of the N E A, New York Foundation for the Arts and McKnight Fellowships, the Weissberger Playwriting Award and a New York Drama League Award, the LA Women in Theater New Play Award, The Jane Chambers Playwriting Award, and was nominated for a Helen Hayes New Play Award. Sherry also received a commission from A.S.K for The Mad Master. She was the first national member of New Dramatists, and teaches playwriting at Bennington College, and often in the MFA programs of the Iowa Playwrights Workshop and the Michener Center for Writers, UT Austin.
Ann Wrightson’s recent lighting design recent work includes: The Diary of Anne Frank for Indiana Rep and the Pioneer Theatre, Crimes of the Heart for The McCarter and Fences for the Huntington Theatre. She designed the Broadway production of Souvenir, and she was a Tony nominee for her work on the Pulitzer Prize- and Tony Award-winning August: Osage County, which she designed for Broadway, London, Sydney and the National Tour. Ann’s favorite projects include Tracy Letts’ The Man From Nebraska (a Pulitzer Prize finalist), Intimate Apparel for both the Guthrie and Steppenwolf and 10 seasons at the Oregon Shakespeare Festival just to name a few. Her regional work has been seen at the Kennedy Center, the Long Wharf, Arena Stage, and the National Playwrights Conference Eugene O’Neill Theater Center. Television work includes Comedy Central and “Politically Incorrect With Bill Maher”. Ann also won the 2009 IRNE Award for Best Lighting forFENCES at the Huntington, a 2001 AUDELCO nomination and a 1998 Backstage Garland Award for Magic Fire at OSF.
KT Nelson joined ODC in 1976 while attending Oberlin College and danced with the Company until 1997. Since 1976, Nelson has choreographed more than 60 works and composed and commissioned numerous sound scores. In 1986, she created and directed ODC’s first full-length family production, The Velveteen Rabbit, which has since toured across the country reaching an audience of over 350,000. Nelson’s awards include the 1987 Isadora Duncan award for Outstanding Performance, 1996 award for Outstanding Choreography and 2001 award for Sustained Achievement. Nelson has collaborated with many artists including Bobby McFerrin, Zap Mama and Linda Bouchard among others. She founded ODC’s youth company, the ODC Dance Jam and is a critical player in the development of ODC’s Educational Outreach Program. In 2002, Nelson received the California Dance Educators Association’s Artist Award for outstanding artistry, creativity, outreach, and dedication to the field of dance. She currently sits on the Zellerbach Community Arts Board.
Jorge Diaz is a puppeteer and the artistic director of the street performance ensemble Papel Machete. He is also associate director of AgitArte, and organization of young people who use spoken word, theater and Hip-Hop as a tool to raise consciousness and work towards social change.
Octavio Solis is a playwright and director living in San Francisco. His works are numerous and include Man of the Flesh, Prospect, El Paso Blue, and Dreamlandia just to name a few. These works and many of his other projects have been mounted across the country at the Oregon Shakespeare Festival, the New York Summer Play Festival, the Dallas Theater Center, and Teatro Vista in Chicago among others. His collaborative works include Burning Dreams, co-written with Julie Hebert and Gina Leishman; Shiner, written with Erik Ehn, and Great Highway, written with Wendy Weiner. Solis has received many awards and fellowships including an NEA 1995-97 Playwriting Fellowship, the Roger L Stevens award from the Kennedy Center, the Will Glickman Playwright Award, a production grant from the Kennedy Center Fund for New American Plays, the 1998 TCG/NEA Theatre Artists in Residence Grant, and the 1998 McKnight Fellowship grant from the Playwrights Center in Minneapolis just to mention a few. His new anthology, Plays By Octavio Solis is issued by Broadway Play Publishing. He has also completed Prospect, an independent feature film which he wrote and directed. Solis is a member of the Dramatists Guild and a New Dramatists alum.
Kristin Marting is Co-Founder and Artistic Director of HERE in New York which she established in 1993; she also co-founded Tiny Mythic Theatre Company in 1988. She has constructed 24 hybrid works for the stage. Most recently, she premiered Sounding, a live cinema performance loosely inspired by Ibsen’s Lady from the Sea and directed James Scrugg’s solo work Disposable Men (winner of an NY Innovative Theatre Award) and his recent new play (RUS)H. For the last 15 years, she has been developing a unique hybrid directorial/choreographic form that features a “gestural vocabulary” used both as an emotional signifier and as a choreographic element and though it is specific to each project the vocabulary is in a state of constant development with an ever-growing set of permanent gestures being added to the repertoire.
Arthur Lewis is a highly sought after stage manager and producer who has worked around the world in theatre, TV, film, and special events. He has carved out a very interesting niche stage managing large, high profile events including the Oscars, the CMA awards, the halftime at the Super Bowl, the Obama inaugural ball and the Beijing Olympics.
Henry Godinez is the resident artistic associate at the Goodman and curator of the Goodman’s Latino Theatre Festival. At the Goodman he has directed the world premieres of Karen Zacarias’ Mariela in the Desert, Regina Taylor’s Millennium Mambo and Luis Alfaro’s Straight As A Line. Henry also directed a variety of other shows at the Goodman including Zoot Suit by Luis Valdez, Sam Shepard’s Red Cross (one of the five short plays in Regina Taylor’s Transformations) and the Goodman’s production of A Christmas Carol from 1996-2001. Godinez worked on other productions around Chicago at Apple Tree Theatre, Victory Gardens Theater and Chicago Children’s Theatre to name a few. Mr. Godinez is the co-founder of Teatro Vista and served as artistic director for its first five years while there he directed Broken Eggs, El Paso Blue and many other productions.
James Still’s award-winning plays have been produced at theatres throughout the United States, Canada, Europe, Japan, and Australia. He is the playwright-in-residence at the Indiana Repertory Theatre, a winner of the William Inge Festival’s Otis Guernsey New Voices in American Theatre Award, the Medallion for Sustained Achievement from the Children’s Theatre Foundation of America, and the Charlotte B. Chorpenning Playwright Award for Distinguished Body of Work. He is an elected member of the National Theatre Conference and a Fellow in the College of Fellows of the American Theatre. Three of Still’s plays have received the Distinguished Play Award from the American Alliance for Theatre and Education, and his work has twice been nominated for the Pulitzer Prize. His plays have been developed and workshopped at Sundance, the New Harmony Project, the O’Neill, the Bonderman, and New Visions/New Voices at the Kennedy Center. In addition to his work in the theatre, Still also works in television and film, has been nominated for five Emmys and was twice a finalist for the Humanitas Prize and a Television Critics Association Award. He is a producer and head writer for the series Paz, head writer for a new series Frog & Friends and writer for Miffy. For Nickelodeon, he was a writer and story editor for Maurice Sendak’s Little Bear and the Bill Cosby series Little Bill. He wrote The Little Bear Movie and the feature film The Velocity of Gary.
Lana Lesley is a Co-Producing Artistic Director of the Rude Mechanicals in Austin. She is an award winning actress and director. Lana specializes in ensemble-generated work and devised scripts.
And Then Came Tango
Watch the touching true story of Roy and Silo, two male penguins that fell in love, incubated an egg, and successfully raised a baby fledgling, Tango. Poetry, dance, and music unite to tell this children’s story, celebrating modern families of all shapes and sizes.
Creative Team: Emily Freeman, Elizabeth Schildkret, Susan MacCorkle, Paul Marbach, Amanda Koleckar, Jacob Watson, Ariel Livingston, Kelsey Rondeau, Jake Lewis, Diana Gonzales, Uyen-Anh Dang, Michael Massey, Mikey Mintz, Courtney Moreno, Hilary Anderson, and Liz Wasem
An installation piece that fuses the fields of engineering and performance, Art Engineered is a Rube Goldberg machine that combines elements of story telling with technology and engineering.
Creative Team: Mason Baker, Bryan Bell, Jason Bolley, Nathan Graham, Samuel Houghton, Christy Howell, Taylor Kirk, Jeff Kurihara, Eric Lara, Dorian Robison, and Joshua Warren
In a city of unexpected back alleys, dive bars, and taco stands, trouble arises from the discovery of a bicycle that wasn’t meant to be found. Austin’s urban landscape plays host to this noir-inspired play on two wheels. Get your bike and come follow the action.
Creative Team: Noah Martin, Brett Hamann, Georgia Young, Ania Upstill, and Lindsey Newman
Christmas/Music: Two Stories
Jeff Harper is a legendary rock artist, and his last album, “Black Blue Dawn,” was hailed as a masterpiece. Unfortunately for Jeff, he was so hammered that he barely remembers writing it. But when his wife threatens to leave him, Jeff sobers up, wins his family back, and releases his wildly anticipated follow-up album. And it sucks. This piece explores the intersections of drugs and creation, asking whether an artist’s ultimate responsibility is to his audience, his family, or himself.
Creative Team: Andrew Hinderaker and Daria Davis
The Chronicles of Bad Ass Women
Through a series of interweaving monologues, six desperados come together and tell their stories of heroism and humility in a staged reading with set and costumes.
Creative Team: Shawn Sides, Holli Gipson, Meghan Kennedy, Jennifer Singletary, Natalie Rinehart, Haydee Antunano, Genevieve Kathleen Smith, Lauren Peterman, Alexis Scott, Liz Kimball, Sydney Andrews, Meghan Kennedy, Kelli Schultz, Megan McQuaid, and Tina Ulrich
Digital Craft: Handmade Craft Meets Digital Design
Exploring the possible interface between 3-D computer technology and costume technology, this installation – exhibit combines historical millinery techniques with modern methods of object construction and design to diversify the costume artisan’s toolbox. The installation presents practical and useful ways of moving between the virtual and physical world.
Creative Team: Becca Miller, Kate Vaughn, Tramaine Berryhill, Yao Chen, Lizzie Bracken, J.E. Johnson, Angela Saenz, and Molly Yestadt
How can the three-dimensional dynamic quality inherent in dance be translated through a two-dimensional output source? This question is explored through a dance media installation.
Creative Team: Taylor Kirk, Andrea Beckham, John Chance, Victoria Hendrix, Danica Salazar, and Lisa Kobdish
Do You Hear What I Hear?
In this interactive dance experience, the audience gets to choose the accompaniment for seven different choreographed solos. In a fun, and often funny, performance we will address the role of music in dance, and its ability to help, hinder, or completely alter the meaning of a work.
Creative Team: Matthew Bunker, Kara Newton, Aly DelCueto, Yvonne Ferrufino, Lucy Kerr, Allyson Maranitch, Chelsea Pierce, Mackenzie Taylor, Morgan Taylor, Audrey Halm, Sarah Pendergraft, Caitlin Poulton, Sarah Presley, Stacy Skolnik, Shelby Smith, and Hallie Ward
The Fictional Life of Historical Oddities
Beneath its boring Maple Leaf facade Canada hides a nasty secret. This site-specific adventure tells the story of the Dionne quintuplets. At just four months old, the quints were placed in the custody of the Canadian government and became the country’s most significant tourist attraction. Told through a mash-up of mediums including puppetry, projection, and sound, this performance will have you seeing the world in five ways.
Creative Team: Rowan Doyle, Tom Horan, Cheng Wei Teng, Courtney Sale, Ana Lozano, Trey Gilmore, Zachary Ullah, Holly Kwansy, Aly Talley, Elissa Castles, Kayla Newman, Leslie Ann Chastain, and Chelsea Pribble
Folk follows the story of Nathan, a man whose life is consumed by his research in American history. As he investigates American folklore, the stories performed onstage by an eight-person chorus. The play explores myth in American folklore and challenges our perception of whether these stories have their foundation in fact or fiction.
Creative Team: Sara Athans, Kate Griffiths, Russell Podgorsek, Sarah Pressley, Logan Hylton, Leigh Fulcher, Nathan Graham, Kathleen Lothringer, and Lexi O’Reilly
Footnotes for People Who Don’t Speak Spanish
This live infomercial/self-help seminar promises the audience “an authentic Latino experience.” Stepping in and out of identities ranging from Che Guevara to Carmen
Miranda, stories are told from their lives and their family histories of being “white, but not quite.” Side effects may include revelations, deportations, salsa dancing, salsa making, and dry-mouth.
Creative Team: Beliza Torres Narvaez, Rudy Ramirez, and Lily Matthews
Forced Out of (con)Text
Body memories of resistance and liberation are carried across space and time as three women of color, artists and scholars, traverse narratives of their experiences through African/Diasporic dance. Through poetry, journaling, and improvisation, they distill and re-mix the critical gestures of their experience.
Creative Team: Maya Berry, Czarina Aggabao Tellen, and Maria Dos Santos
A work of dance theatre, this multi-dimensional work chronicles a day in the lives of women in 1980’s corporate America. Using vehicles of dance, theatre and exploration of props such as eggs, ice cream, office supplies and power suits, the piece questions gender roles, equality, and social responsibility.
Creative Team: Janna Rock, Taylor McCaslin, Dorian Robison, Jon Cook, Taylor Kirk, Eric Lara, Tim Stafford, Caitlin Poulton, Allyson Marantich, Kara Newton, Sarah Thornell, Logan Hylton, and Courtney Mazeika
Calling all babies! This interactive theatre piece is designed specifically for children under the age of three. This visually dynamic, movement-based show explores the concept of HANDS, one of the first things young children discover. Interactive in nature, the performers invite the audience to explore the set and play with the props throughout the piece.
Creative Team: Bethany Lynn Corey, Elizabeth Schildkret, Paul Marbach, Megan Alrutz, Susan MacCorkle, Nicole Barnes, and Tiny Robinson
Explore the act of storytelling through a sound installation piece. Interview subjects were asked “If you could tell one story from your life, what would you tell?” The resulting interviews were edited into a sound composition that includes music, narration and atmospheric sounds.
Creative Team: Tom Horan, Trey Gilmore, Michelle Dahlenburg, and Paul Marbach
How do we remember what we can’t remember? Katelyn Wood, whose father – a country radio DJ – passed away when she was young, confronts his memory and her feelings of loss by returning to the rich archive of his taped broadcasts. Heart Trouble creates a world in which what haunts our past moves into the present. Through humor, personal narrative, and country music, this solo performance explores the healing that comes from confronting lost memories and the ineffable moments in our lives.
Creative Team: Katelyn Wood, Lydia Nelson, and Nicole Gurgel
The Ideal City Project
A massive wood sculpture depicts a utopian city, which offers the promise of perfection. But is it doomed to fail? Through a serious of monologues, this performance will examine why this utopia will succeed, where others have failed, and what its downfall might be.
Creative Team: Lizzie Bracken, Diana Grisanti, Steve Moulds, Kate Leahy, Halena Kays, and Dan Rumney
This inter-media piece explores social life in cyberspace through live dance and 3D animation. Jane is a human who is seduced by a virtual community of dancers and has to decide whether to leave her body behind or to shut down her cyber friends.
Creative Team: Chell Parkins, Eric Gazzillo, Tom Benton, Becca Miller, and Erin Chmela
La Canción de la Tierra
This piece is a bilingual (Spanish-English) environmentally aware play for young audiences featuring four animatronic puppets, two human actors and a puppeteer.
Set deep in a tropical rainforest, the storyline presents the struggle to keep the Earth a clean and healthy place to live for all of its inhabitants, animals and man, by focusing on the four R’s: Recycle, Reuse, Reduce, and Responsibility.
Creative Team: Roxanne Schroeder-Arce, Ben Bazan, Kirk Lynn, Elizabeth Schidkret, Maggie Tominey, Jim Glavan, Joseph Dailey, Michelle Habeck, Wilberth Gonzalez, Karen Maness, Mason Baker, Dorian Robison, Christina Ramos, Ryan Graham, Karen Rodriguez, Renee Castro, and Sam Gorena
LISTEN TO ME
An interactive audio installation, people in and around the UT Austin community share intimate stories exploring imagined fears, imagined futures, and our collective hopes. These voices are hidden around the Winship Theatre building. Slow down. Go find them. They’re waiting for you to listen.
Creative Team: Michelle Dahlenburg and Tom Horan
This staged reading of a work-in-progress follows the story of high school junior, and self-proclaimed theatre nerd, Leigh, as she escapes to an experimental school geared toward those who are in need of a safe place to learn and undergo therapy after experiencing traumatic bullying. She is popular for the first time and enjoys everything this new world has to offer until she meets the school’s veteran, Kira, who shows her a different side of this seemingly utopian environment.
Creative Team: Avital Stolar
Nobody Knows It But Me
Telling the story of three teenagers who come together to make a suicide pact, this staged reading challenges the concept of realism versus the subconscious through a tangled web of emotions in the minds of young people contemplating suicide.
Creative Team: Isaac Gomez, Kaitlin Bouzek, Charity Lee, Will Taylor, Bianca Summers, Sarah Konkel, Demetrius White, and Daniela Herrera
Our Lady of Peace
Our Lady of Peace is a theatrical adaptation of a short story by ZZ Packer. The story explores themes of race, identity, poverty, and urban education. The play is devised by the ensemble and performed in a chamber theatre style, with the much of the short story’s original text serving as the script.
Creative Team: Anne McNamee, Tina Ulrich, Jelisa Robinson, Tameika Hannah, Alex Crook, Marche Howell, JaMichael Darnell, Clyde Burgess Jr., and Mina Murray
A week before her 18th birthday, Louise and her stepbrother Justin run away from Texas to start a new life in Nashville. But when their parents follow them, Justin’s country music dreams get sidetracked and Louise’s birthday party goes terribly, terribly wrong.
Creative Team: Diana Gristani and Joseph Dailey, Steve Moulds, Katie Erwin, Elissa Castles, Gabriel Jason Dean, Lizzie Bracken, and Halena Kays
Incense fills the air. A shadow appears, beckoning you closer. You hear a voice telling stories of Raven, infamous Native American trickster. Join this shadow puppetry and site-specific journey following the Raven as she embarks upon an adventure to capture sun and remove the blanket of darkness. Devised by an ensemble of artists, and told through stories, images, and color, this adventure is sure to delight audiences of all ages, encouraging us all to find our own sources of light and inspiration.
Creative Team: Abra Chusid, Sarah Saltwick, Rowan Doyle, Laura Kieler, Jumana Rizik, Courtney Combs, Jason Bolley, Leslie Chastain, Arthur Marroquin, Kayla Newman, Callie Raynor, Jumana Rizik, and Kelsey Rondeau
This play tells the true story of an inspirational woman, a devoted daughter, wife, and mother who overcame many struggles to find a new and better life for her family.
Creative Team: Christina Norton, Arthur Bryan Marroquin, Jacklyn K. Benavidez, Rikki Perez, Karen Rodriguez, Maki Borden, Anna Fleury, Stephanie McConnell, Judith Elaine Soto, and Jelisa Jay Robinson
Sex: A Public Education, or Lessons In NOT Looking For Love
This solo performance depicts the dilemma of being gay, young, horny, living alone in Texas, while in a long distance, open relationship with a boyfriend in Canada. Told through a sometimes sad, and often shocking collection of texts from online personal ads, chats, and social networking sites, this piece provided rare insights into the survival techniques necessary when you’re far away from the one you love and in need of a little action.
Creative Team: Stephen Low, Courtney Sale, and Rowan Doyle
The Sexy Sex Kind of Sex
What is sexy anyway? What is consent? Is consent sexy? Or not? What does it mean to consent to sex? This devised, interactive piece will explore our perceptions and assumptions around approaching sex with a partner – how does it happen, when does it happen, and how do you know you have consent?
Creative Team: Sarah Saltwick, Amanda Morish, Allegra Lucchesi, Morgan Taylor, Mackenzie Taylor, Kaitlin Bouzek, Jorge Luis Galan, Rachel Haney Butler, and Rupaul Otal
The Sound Ascending
This chamber musical tells the story of two lovers, Miriam and Zakir, who come of age in Soviet occupied Afghanistan. Loosely based on Tennessee Williams’ play Orpheus Descending, only two characters exist in the present, Miriam and her interrogator, Mr. Donovan. Can she continue living her new life without destroying those she left behind?
Creative Team: David A. Brown and Jason Tremblay
Scamper into this site-specific exploration of hoarding, love, and cold-war anxiety as seen through the eyes of squirrels. Performed on the sprawling LBJ lawn, Stockpile finds one squirrel scurry pitted against a newly formed other. As they fight over litter, lost nuts, and half-eaten muffins, will peace prevail? Will we get caught up in the battle?
Creative Team: Daria Davis, Gabrielle Reisman, Dimitri Gonzalez, Noah Martin, and Michelle Dahlenburg
Join the interactive performance about a gay sperm on a journey through the female body. This experience incorporates live actors, puppetry, multimedia, and music, and transforms the audience members into sperm and eggs involved in the ultimate game of chance.
Creative Team: Ilana Marks, Alvez Barkoskie, Cate Eby, Chris Yoo, Cody Melcher, Daniel Sullivan, Jeff Kurihara, Jenn Adams, Julia Gytri, Jumana Rizik, Katie Alyward, Laura Spears, Rachel Atkinson, Rene Berthelette, Rikki Perez, Ryan Andrus, and Stephanie Taff
Synaisthe is an inter-media, movement-based work, exploring the ways in which our sensory experiences are linked and associated through the physical pathways of our bodies. The performance will utilize a variety of visual technologies, primarily infrared motion tracking software, to control and manipulate virtual images in real performance time.
Creative Team: Brian Ballew, Ashley Cunningham, Victoria Goss, Eric Gazzillo, Victoria Hendrix, Michael Howell, Taylor Kirk, Ryan Light, Anne McMeeking, Chell Parkins, Christen Rose Perez, Dorian Robinson, Marc Reynolds, Bich Vu, and Bryan Alvarez
The Transition of Doodle Pequeño
Oranges the size of pumpkins, vampires, devil horns, tutus and learning to speak “goat”- it’s Halloween and Doodle is the new kid in the quadraplex. When his first friend shows up in a tutu and Doodle dons a skirt, bullies take notice. The play for young audiences, presented as a staged reading, takes a look at gender identity, difference and discovering things aren’t always what they seem.
Creative Team: Gabriel Jason Dean, Abra Chusid, Jim Hancock, Brian Fahey, Isaac Gomez, Haley Hussey, Noah Martin, and Alexis Scott
Transitional Spaces III
This site-specific contemporary dance places abstract movement in the entranceway to the power station spanning 24th St. to the Lab Theatre, a space ordinarily occupied by pedestrian traffic. The dance is comprised of movement ranging from minute gestures to grand physical maneuvers. The ten dancers separated by the elongated space will invite the audience to open their field of vision and experience the space differently.
Creative Team: Ellen Bartel, Adam Sultan, Alex van Bavel, Alexandria Sepulveda, Mari Akita,
Claire Augustine, Katherine Hodges, Lisa Kobdish, Shirley Luong, Amy Myers Martin, Cooper Neely, Janine Ploetz, Stacy Skolnik, and Janna Rock
When the Horse Runs Off
This chamber opera is based on the Buddhist fable of a boy’s wish to see the world outside his small village. By leaving all he knows to be true, he sets in motion a chain of events that leads to the unexpected, in ways both good and bad. It is small in scale, but by using just a handful of musicians and singers, playing multiple roles, it will create a surprising opera experience.
Creative Team: Randy Maguire and Sarah Saltwick
You Can’t Win
Presented as concert reading, this new musical tells of Jack Black, the first career criminal to ever publish his autobiography in the United States. The story begins in post-Civil War Kansas City, Missouri and ends in San Francisco, California in the 1920s. Jack Black is the real deal. His story is a one of a kind classic, a poetic journey into history and sociological study of America’s criminal class.
Creative Team: Ben Snyder, Jenn Hartmann Luck, Ethan Frederick Greene, Courtney Sale, Tramaine Berryhill, Ninoska M’bewe Escobar, Joclyn Pettway, Bryan Ballew, Brian Bogart, Joseph Dailey, Syndi Kipp, Stephen Naimoli, Ashlee Olejniczek, Glen Hall, Travis Tate, Sarah Walker, John Smiley, Ben Bazan, Daniel Sullivan, Amanda Morish, and Lyn Koenning
The following is a letter from the Producers of the 2011 Festival that was included in the festival program
Once again the Faculty Co-producers of The University Co-op Presents the Cohen New Works Festival are delighted to invite you to a glimpse of the future! Over these six days, we will celebrate and showcase over thirty-five new works of theatre, music, dance, opera, installations, solo and site specific performances created by our students. But the Festival is much more than a jam-packed schedule of performances. It is a living laboratory where our students try out bold new visions, experiment with new forms and challenge themselves and each other with new ways of making, examining and exploring performance.
As in past Festivals, every project and creative team receives one-on-one responses from seasoned, professional guest artists. We bring renowned playwrights, directors, dramaturgs, choreographers, producers, designers, and performers from all over the country to share their insights and perceptions with our students and to give specific, constructive feedback to students about their work.
This year we are pleased to add three new components to the Festival to make the process of creating new work more dynamic and transparent. A Dramaturgy SWAT Team provides outside response to rehearsals and assistance with rewrites. A Reading Room provides a space to share plays in progress, and the Engaging Research Committee presents new forms and expressions of the many kinds of research done in, around and about performance.
We also wish to recognize the extraordinary contributions of the graduate and undergraduate students who have taken the leadership roles in creating and implementing the Festival’s infrastructure and administration. Students have done all of the “heavy lifting” from designing application materials and procedures, to creating marketing materials and a new look for our website, to planning special events, to identifying and organizing all guest artist visits, to coordinating the transition of the entire Winship Building into a vibrant performance space. They have worked tirelessly for the past two years to be sure that the Festival is representative of all segments of our student population. As Faculty Producers we are awed by their energy, their excellence and expertise. Over the past decade this Festival has become so much more than a biennial event. It has become a creative catalyst to fuel the development and production of new work that stands at the core of our curricula; its rhythm is the heartbeat of the Department of Theatre and Dance and a call to action for the College of Fine Arts.
We are thrilled to invite you join us for these six remarkable days. The Festival is NOW. Enjoy!
David Justin, Denise Martel, Suzan Zeder
Below are links to Press & Review Articles from the Austin Community News Outlets:
- The Daily Texan – “UT festival showcases student plays” – 3/29/11
- The Austin Chronicle – “Team Risk: UT students create a safe place for the classmates to make daring new stage work.” – 3/25/11
- KNOW Events Blog – “The Making of the Cohen New Works Festival” – 3/25/11
- The Alcalde Blog – “Cool Dancing Flash Mob Storms UT Campus” – 3/25/11