Poster

Works In Progress 2014

May 29 - June 1, 2014

WORKS-IN-PROGRESS opens Red Eye's 2014 New Works 4 Weeks festival. For six months each featured artist has been given full access to the theater, technical support, as well as feedback from their artistic peers as they develop their pieces. The process culminates in four public performances; a high-energy, eclectic evening of theater featuring a 15-minute excerpt from each of the five selected projects.

Time Had A Job
Emily Gastineau & Billy Mullaney
The dynamic artistic collaboration known as Fire Drill offers up a 15-minute duet composed of 150 discrete pieces delivered in an incessant six-second rhythm. The piece illustrates a contemporary sense of timing and narrative, challenging the creators to subdivide and classify a barrage of information, while manifesting a tension between stimulation and burnout for the viewer.

Youngest Child
Eben Kowler
In its latest creation, the five-member dance collective DANCEBUMS, explores the sense of being unable to see, understand or know the totality of systems that we are embedded within, while striving better to know and understand our position within these systems.

Blue/Doll/House/Beard
Kym Longhi
What if you had a key to unlock the deepest part of yourself? Would you give it to the one you love? Or are there just some things that no one should know? In Bluebeard's forbidden chamber, all of his wives are dolls named Nora. “Blue/Doll/House/Beard" marries Charles Perrault’s "Bluebeard" and Ibsen's "Dollhouse" in a fairytale murder-mystery about marriage and violence, the power of secrets, and the individual's quest for intimacy with the self.

Under the Current
Sharon Picasso
A rumination on task, body and freedom, this solo dance performance piece is an examination of a life, the minutia that fills the day with meaning, the details that make it specific to one unique being, and the choice made to tuck into the story or let it die with the teller.

Howard Gap Road, an opera for headphones
Joe Waechter
Three unrehearsed performers each put on a pair of headphones and perform a set of pre-recorded instructions in real time before a live audience. Through a combination of classic storytelling, song, and dance, the story of three teenagers headed to a local diner for another night of coffee and cigarettes unfolds. But when they decide to take the scenic route, things get serious, and when...  Well, you'll have to see what happens. But nothing will ever be the same - ever.

Collaborators

Fire Drill is the artistic collaboration of Emily Gastineau and Billy Mullaney. They work along the disciplinary boundaries of dance, theater, and performance art, conducting experiments around the notion of contemporary and how art is meant to be watched.  Their work has been seen at Bryant-Lake Bowl, the Ritz Theater, Skewed Visions, and the White Page in Minneapolis, along the Central Corridor in St. Paul, and has been curated in Brooklyn, Oakland, and Portland.

When he was 10, Eben Kowler joined Young Dance where he performed in the work of Gretchen Pick, Erin Thompson, Kaori Kenmostu, and Justin Jones. Young Dance’s values of community engagement and artistic exploration were a formative part of his youth. In 2008, Eben canoed in the Arctic for 50 days. This remote and alien landscape left him with an appreciation for scale, natural systems, tools, expeditions, work, remoteness, and habits. Currently Eben dances with DANCEBUMS and Time Track Productions, teaches Sunday school with Dave Snyder, and works for his mom.

Kym Longhi was a core company member and featured performer with Margolis Brown ADAPTORS Company for 12 years, contributing to the development of all their work. Since then she has worked as an actor-collaborator with Off-Leash Area, Skewed Visions and Flaneur Productions. Recent directing projects include HEROCYCLE  (FTF Works), SHE MYTH (Big Wingz Productions) and IT IS SHE WHO I SEE (Interference Arts). Kym is the recipient of a 2012 Minnesota State Arts Board Artist Initiative Grant and a 2000 Minnesota State Arts Board Artist Assistance Grant. 

Sharon Picasso received her degree in dance performance and choreography from The Boston Conservatory. Sharon had the pleasure of presenting her work throughout Boston as well as co-founding a guerilla improvisational group performing along the subway system in the Boston/Cambridge metro. After a nugget of time in San Francisco, Sharon relocated to Minnesota, where she has thoroughly enjoyed her work with a wide variety of stellar artists most recently Melissa Birch, Deborah Jinza Thayer’s Movement Architecture, and The April Sellers Dance Collective.

Joe Waechter is a playwright and theatre-maker living in Minneapolis. His work has been developed or produced by Playwrights Horizons, The Guthrie, Ars Nova, American Repertory Theatre, McCarter Theatre, Trinity Repertory Theatre, The Kennedy Center, PlayPenn, The Illusion Theatre, The Amoralists, The Hangar Theatre, Portland Stage, The Source, Inkwell, and The 25¢ Opera of San Francisco. He is the recipient of the Araca Graduate Playwriting Prize, a Lucille Lortel Playwriting Fellowship, a McKnight Advancement Grant and two Jerome Fellowships at the Playwrights’ Center, where he also serves on the Board. This summer he will begin a residency to develop a new play aboard an ice-class sailing vessel in the Arctic Circle. He is a member of Workhaus Collective and The Dramatist Guild, and received his MFA in Playwriting from Brown University.

Thanks

Photo credits:
Billy Mullaney & Emily Gastineau in TIME HAD A JOB - photographer: Liz Josheff

New Works 4 Weeks is supported with project funding from Jerome Foundation and Metropolitan Regional Arts Council through an appropriation from the Minnesota Legislature.  Red Eye’s 30th season is made possible with general operating support from the Carolyn Foundation, Kaemmer Fund of HRK Foundation, The McKnight Foundation, Target, and by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

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