For more information on THE QUIET VOLUME, please read our review.
For more information on THE QUIET VOLUME, please read our review.
Impressive feats of theatrical creation occur within the mind whilst reading a book. These are amongst the most magical of humanity’s creative feats, incredible tricks our brains play as we embody a world only described to us through print. Deciphering words strung together upon the page instantly and unconsciously, the mind takes part in the transforming text into living, breathing worlds full of action, flesh, blood, bone, decay, death, rebirth, chaos, pageantry, and beauty.
With THE QUIET VOLUME, Ant Hampton and Tim Etchells have crafted a hands-on performance piece, built for pairs of intrepid cultural explorers to create together, in real time, for each other and themselves.
At the New Zealand Festival, THE QUIET VOLUME is set in nooks and crevices amongst the hushed hustle and soothing, art filled second story of the National Library of New Zealand.
Before beginning the ritualistic performance, aural and visual textures of the library and it’s inhabitants envelop you, transforming into the set and background performers creating a baseline of reality to journey away from and back towards as THE QUIET VOLUME transports you into a magical realm of words.
Of particular import to Hampton and Etchells is imparting the power of the written word to engage the deep recesses of the brain. They desire to elucidate for participants the tricks that can be played on a willing, open mind engaged in play. While guiding you through a set of performative activities with and for yourself and your partner (and the voyeuristic gaze of random library denizens), Etchells and Hampton urge you to consider the miracle of language. The process by which the written word evolves and mutates within societies and cultures, facilitating a range of communications that engender all manner of expression off of the page.
THE QUIET VOLUME touches on the personal process of acquiring literacy, and then our manners of expression beyond spoken language, evolving from symbols to letters, to words made up of letters, to sentences crafted from words concocted of letters, groupings of paragraphs full of sentences built of words created from letters… this endless loop of creation and constructions all built out from the origin and birth of a simple, single mark carved into a stone, the smear of ink upon paper or papyrus.
This inherently simple act of reading and absorbing information and culture, be it the morning newspaper, a work of pulp fiction, or perhaps a piece of art that removes you from your current socio economic comfort, providing an awareness and taste of the stark, dire reality that another living creature is experiencing… until you choose to turn the page, or close the cover and push the book aside.
THE QUIET VOLUME is gently insistent in forwarding it’s thesis that we have been granted access to an incredible gift. Language, literature, the written word are more than mere tools. They are are as fragile and complex as the human condition. They can lie, shift one’s perception, play the trickster, inspire greatness… all while engaging the most fantastical imaginations of the reader. Their existence and usage allows for communication of all things amongst friends, lovers, strangers, or two people sitting at a desk in a public library.
Like all site specific, participatory pieces, THE QUIET VOLUME is best understood after participating in it. Urging you to do so would be the subtlest of understatements.
The world’s first interactive live stream of an opera — FREE!
Bring your fully-charged smartphones and tablets to have your own individual experience of Tod Machover’s “robot opera”
Death and the Powers!
The Industry is proud to work with the Hammer Museum as one of Dallas Opera’s international partners on the first-ever interactive live stream of an opera performance this Sunday, February 16 at 11:30am. And it’s FREE–with seating first-come, first-served.
View the opera from “inside the robots” on your own smartphone or tablet!
The MIT Media Lab is making the remote experience for LA audiences truly revolutionary! Each audience member can choose their own view of the opera with the Death and the Powers app. So bring your smartphones and tablets to get inside the opera in a truly innovative way!
KNOW BEFORE YOU GO:
1) Arrive early! The performance is free but seating is limited and first-come, first-serve. The streaming begins at 11:30am at the Hammer Museum’s Billy Wilder Theater.
2) Download the app in advance! The app is now available by searching for “POWERS LIVE” in the App Store.
3) Make sure your device is fully charged before leaving home! The opera runs 90 minutes.
4) Stay afterwards for a live Q&A with the opera’s set designer Alex McDowell, interviewed by The Industry’s Artistic Director Yuval Sharon.
The Wooster Group’s newest production, Cry, Trojans!, tackles the Trojan side of Shakespeare’s dark and scabrous Trojan War play about sincere love corrupted and the downfall of a noble hero. The piece originated as a co-production between The Wooster Group and the Royal Shakespeare Company for the World Shakespeare Festival, presented in conjunction with the 2012 London Olympics. In that version, the RSC played the Greeks and the Group played the Trojans.
Director Elizabeth LeCompte and the Wooster Group have converted the collaboration into an independent piece, reimagining the Trojans as a pastiche fictional tribe of early Americans struggling to assert its dignity in the face of doom.
In keeping with the company’s commitment to the City of Los Angeles, L.A. Dance Project announces its new artistic partnership with Ace Hotel, which will begin with three performances at The Theatre at Ace Hotel, formerly the historic United Artists Theatre.
After its much anticipated premiere at the Walt Disney Concert Hall and Gloria Kaufman Presents Dance at The Music Center, along with a world-wide tour, L.A. Dance Project returns to Downtown Los Angeles to present its most celebrated collaborations to date.
The three-night residency includes U.S. premieres of Reflections, choreographed by Benjamin Millepied with music by David Lang, performed live by Grammy award winner Gloria Cheng, and Murder Ballads, by Justin Peck with music by Bryce Dessner of The National, with visual concepts by famed LA artists Barbara Kruger and Sterling Ruby.
These two works will be paired with an exclusive sneak peek of a new piece by Hiroaki Umeda in preparation for its upcoming premiere in Paris in March 2014.
A young painter must reconcile his remarkable artistic gifts with the austerity and singular devotion required by his faith. Stephen Sachs directs the Los Angeles premiere of Aaron Posner’s award-winning stage adaptation of Chaim Potok’s acclaimed novel, My Name is Asher Lev, opening Feb. 22 at the Fountain Theatre. Set in Brooklyn’s Hasidic Jewish community, Asher Lev is the powerful story of a young man’s struggle to become an artist at any cost – against the will of his parents, community and tradition. Exploring questions of art, family, religion and loyalty, this extraordinary adaptation is a compelling look at the price of individuality.
“This is a play about the struggle to discover and be who you are,” says Sachs. “Sometimes who you are is in conflict with your family and your community. Art has the power to destroy as well as to heal. What do you do when you know that the art you create might hurt the people you love?”
On February 15th, 2014, the story of Anne Frank and her two-year ordeal hiding with her family during the German occupation of the Netherlands comes to Hollywood’s Cupcake Theater. Starring third-generation Holocaust survivor Sigi Gradwohl (The Middle, Chelsea Lately, Scenie Award Winner) as Anne Frank, The Diary of Anne Frank is a story of life, not death, and a depiction of raw, daily survival during the Holocaust. Told with wit and sentiment, this production is sure to hit home with a truth that still resonates today.
In addition to the traditional theater experience, Sunday matinee performances will be followed by talkbacks with Holocaust survivors on February 23, March 2, and March 9. The interactive sessions between the survivors, cast members, and audience members will be moderated by Sigi Gradwohl, for whom the Holocaust connection is close and personal. Gradwohl’s grandfather was a primary school classmate of Anne’s, but was able to escape Amsterdam thanks to his father’s Swiss passport; her grandmother escaped Germany as a child on one of the final Kindertransports to London. As less and less survivors remain today to tell their first-hand experience, this combined program of theater and talkback sessions is aimed at keeping the story of the Holocaust alive and providing a platform for further education.
Additional highlights of the show include sound effects and radio voiceovers performed live onstage, close attention to period detail in costumes and design, and the touching performances of the cast members, eight of whom remain on stage the entire production, truly creating the environment that Anne and her family were confined to for twenty five months.
Home. Identity. Secrets and lies. An African-American attorney with a career on the rise is shocked to discover she has an Iraqi half-sister in Wendy Graf’s newest play, a hard-hitting drama about family conflict and clashing cultures. L.A Weekly and NAACP Award-winner Diarra Kilpatrick stars as Julia Dolan, whose carefully constructed life begins to crumble when Neyla (Simone Missick), a devout Muslim, arrives in the U.S. A violinist, Neylas plans to audition for Julliard – but is there more to her story? Directed by Shirley Jo Finney, the world premiere of Closely Related Keys examines the walls we erect in our current climate of racial, religious, moral and political polarization.
“It’s about love and loyalty, secrets and lies, and how the past, never being dead, just hovers around waiting to smack us upside the head,” says playwright Graf. “It’s about picking up the broken pieces to imperfectly assemble a new family and future.”
“What I love about this piece is that it puts a fresh spin on racial relations that’s very different from what we usually see in plays about the African American experience,” says director Finney. “Each of the five characters has a unique voice with a very distinctive point of view. These people, like all of us, are trying to navigate a world that has become interconnected and multicultural on every level.”
The play’s title is taken from a musical expression meaning “to share many common tones.”
“GO! You won’t be sorry!” raves Backstage. “Enchanting!” exclaims Variety. 100 reviews! 100 raves! It’s the joyous, hilarious, touching, and ever-popular classic musical comedy, the longest-running Jewish musical in LA theatre history – 4½ years in its initial run! The glorious numbers, poignant moments and delightful humor will have you laughing, crying, tapping your toes and celebrating life like never before. “The best and funniest theatre production in LA!” hails Century City News of the show that put musicals into the LA intimate theatre arena, back for 4 weeks only, presented by the Jewish Heritage Series to celebrate its 38th anniversary. Valley Life affirms, “In this encore production, you’ll discover, through the whimsical wit of Sholom Aleichem and the skill of Chris DeCarlo, why the play enjoyed such a long run. It’s a great evening!”
A brilliant team of artists present an unrivaled musical comedy classic offering a magical, musical melee at once glorious and gentle, bold and bittersweet, mirthful and romantic, inviting audiences of all ages to celebrate the humor and pathos of Sholom Aleichem’s world and offering a “sparkling introduction to a new generation of theater enthusiasts to the patina-covered world of their brethren on both sides of the ocean, to a world that is no more and will never return.” (B’nai B’rith Messenger). “I thank you for bringing him so beautifully back To Life,” applauds Aleichem’s second cousin, Lillian Aderman Moller as Chris DeCarlo reprises his award-winning portrayal of the world’s most beloved Yiddish author. Joining DeCarlo is original cast member Evelyn Rudie, with Actors’ Repertory Theatre (ART) members Celeste Akiki, Kate Burleigh, Rachel Galper, Nima Ghassemian, Alejandra Nunez and Graham Silbert. The production is helmed by long-time ART director Arthur R. Tompkins, with authentically detailed costumes by award-winning designer Ashley Hayes and lilting tunes by the acclaimed team of Evelyn Rudie and the late Ben Weisman (57 gold albums).
Sholom Aleichem’s tales are so timeless and universal that they have transcended over 100 years of social and cultural change, and become more appealing to audiences and readers with each coming year. Iconic theatre reviewer Polly Warfield proclaims, “AUTHOR! AUTHOR! is an unmitigated delight. It is joyous entertainment…It warms the audience and sends them out feeling better than when they went in.” And Casting Call sums it up: “Perfect intimate theatre! See it!”
“CRITIC’S CHOICE! Sails on a sea of comedy!” hails LA TIMES. “Watch out Neil Simon! Jerry Mayer is right behind you with this brilliant, witty comedy!” exclaims Profile Magazine. “Hilarious!” raves Hollywood Reporter. Held over by audience demand, it’s the smash hit that Daily Variety calls “Engaging and delightful,” a buoyant dead serious comedy about love and survival that asks the question, “Are men really more trouble than they’re worth?” Warmth, pathos and lots of jokes abound as a mother and father take their daughters and sons-in-law on a happy anniversary cruise and quickly find themselves awash in a sea of stormy relationships. Twenty-five years after it launched at Santa Monica Playhouse, playwright Jerry Mayer’s acclaimed comedy docks again for a limited silver anniversary run. It’s a modern family vacation that results in “a funny and touching look at six people enmeshed in various stages of complex relationships. In other words, it’s about us all. Trying to tell our parents we love them, attempting to understand a rival sibling, and fighting the eternal battle of the sexes,” says Entertainment Today.
Written by Jerry Mayer, author of Almost Perfect, A Love Affair, Killjoy, 2Across, Black & Bluestein, Dietrich and Chevalier. His play Aspirin & ELEPHANTS ran for two years in its initial run at Santa Monica Playhouse and has been seen in cities all over the world. Directed by Chris DeCarlo, whose most recent projects include Arnold Schulman’s Sleeping Ugly, Lisa Phillips Visca’s Raise Me Up, and LA Times Critic’s Choice Last of the Knotts. Chris also directed the world premieres of three Mayer plays, including Aspirin & ELEPHANTS in its1989 world premiere. Featuring a stellar cast of stage and screen personalities that includes Ryan Driscoll (series regular Poop Notice; House M.D., the web-series Death As We Know It); Kip Gilman (Moonlight and Magnolias, Stuff Happens, Jerry Mayer’s 2Across, CSI Miami, Bones, Trapper John MD); Michael Marinaccio (off Broadway: Tony ’n’ Tina’s Wedding, Romeo and Juliet; Santa Monica Playhouse World Premiere of Lisa Phillips Visca’s Raise Me Up); Wendy Michaels (Rabbit Hole, Jerry Mayer’s Almost Perfect, Bachelor Party 2, The Glades, America’s Most Wanted); Afton Quast (Don’t Dress for Dinner – ICT; Second City Hollywood; Amadeus – Neighborhood Playhouse); and Matthew Wrather (Travesties with Sam Waterston, The Raft with Ed Asner, Lucas Mirelle’s A Bad Person).