DV8 and Tanja Liedtke Mar 27, 2009
by Jessica
DV8 Physical Theatre, UK's leading makers of highly physical dance, was one of the company's that Tanja Liedtke got her start in.
DV8 Physical Theatre, UK's leading makers of highly physical dance, was one of the company's that Tanja Liedtke got her start in.
A new arts blog called Artsography - dedicated to cataloguing and reviewing local art events attended by the blog's 2 authors - has landed on the scene. Check out their latest post on Theatre Replacement & Tim Etchells' That Night Follows Day.
Production name - Je suis sang
Subtitle - A Medieval Fairy Tale
Featured - "A battalion of armored knights parad[ing] alongside bloodied brides, satyrs and medieval surgeons" (NY Times).
Nature Theater of Oklahoma just premiered their newest work - Rambo Solo - at the SoHo Rep. The NY Times reviewed the opening. A quick quote:
WalesOnline just posted an article about Tanja Liedtke and the performances of
In early 2007, LondonDance did a great little interview with Tanja Liedtke.
And because the pictures from construct generally cheer me up, here's this:
Welcome to our review blog for That Night Follows Day. Read our patron reviews, press reviews, and click on the Comments button to read the comments of others. Take a moment post your own thoughts!
This show reminded me of growing up, an always constant process. While watching the kids onstage, reciting lines they surely couldn’t understand yet or care about, it became obvious that this show is for grown-ups, not for kids. It brought back memories of being a kid, and that huge divide between kids and adults. Everyone over 16 or so was an adult, therefore a sort of enemy, and didn’t really understand.And now I am an adult and I don’t understand *them* anymore.
I woke up confused, after a night of dreams delivered directly from City of Lost Children. When I went to sleep, I was feeling pretty good and had enjoyed, but not been terribly moved by, Theatre Replacement's That Night Follows Day. The show is like a Greek chorus without a plot, a technique which impressed, bored, mesmerized and released me (in that order). The 17 actors are no doubt talented and fully committed to their kid-ness, but one tiny girl kept distracting me with her strangely adult postures, haircut and intense stares.
Many thoughts ran through my mind during Tim Etchells’ “That Night Follows Day ”. This is dense, rich material that I’m going to be digesting for a long time. One thing is certain: I’ll probably never see children the same way, or forget what complex people they are.
Random thoughts (spoiler alerts, etc.):
Most of the time, it felt like the (largely adult) audience was on trial and the children were presenting their indictments. Etchells has messed before with the typical theatre form in which people come
You can relive some of the pre-intermission dance number on YouTube. And here you can find a picture of a robot dancing.
I think the answer is probably "yes." If so, apply now to participate in The A.W.A.R.D. SHOW! 2009: Seattle. APPLICATIONS ARE DUE MARCH 31ST.
Seattle Magazine thinks that Theatre Replacement's performance at OtB this weekend is a must. Check it.
Steve Wiecking of Seattle Met is also headed our way this weekend. Choice quote:
Brendan Kiley, arts editor at the Stranger, interviewed Tim Etchells as part of his preview for the show That Night Follows Day. Not all of the material could make it into the print edition, but Kiley was generous enough to share it with us.
The theater news column in the new issue of The Stranger is dedicated to That Night Follows Day. A couple sample tidbits:
[Tim Etchells] and his company Forced Entertainment blew into town for a weekend and performed Bloody Mess—their multihour spectacle of fog machines, brutal slapstick, gorilla suits, and nudity—four times at On the Boards.
Anne Gridley from Nature Theater of Oklahoma gets down with Lane at Ozzie's, post-show. NTOK is the latest in a series of karaoke-lovin' companies to come visit OtB.
A new podcast interview with Lane Czaplinski and Solon Ulbrich (Tanja's partner) is now posted over on the Tanja Liedtke performance page.
A few quotes from the interview with Theatre Replacement's James Long and Maiko Bae Yamamoto:
JL: We could never imagine doing a show like this, and then suddenly it was in our hands. And this script - you know, I think we try to do a lot of the things that Tim does with his writing in a lot of our work...
OtB has presented both Theatre Replacement and Tim Etchells (via his company Forced Entertainment) in the past 5 years.
Want to know more about Tim Etchells (author of That Night Follows Day and OtB alum)? His website is a great place to start. Comes with images from performances, pictures of his visual art and, of course, a blog (which contains some good reads).
My quick list of things to note about Tim:
1. He leads the UK performance art company Forced Entertainment.
Seattle Weekly just posted a short article about That Night Follows Day:
Parents just don’t understand, yet they have all the power.
Did you miss tEEth's Grub? Well, you can't see the full thing online, but you can see a short preview from Phillip and Angelle, the masterminds behind tEEth.
I've started to really throw myself into efforts around OtB's next show, That Night Follows Day. It's an exciting, scary endeavor for us. It's the first time we've acted as co-producers AND the first time we've brought a cast of kids onto our stage.
..are coming in.
Sandwiches and nearly four hours of chatting - Seattle Times
James Long and Maiko Bae Yamamoto of Theatre Replacment recently chatted about That Night Follows Day with OtB's artistic director, Lane Czaplinski. Listen to them talk about how they came to work on this performance, Forced Entertainment and more.
I love this show full stop, and have hoped it would come to Seattle since it first knocked me out at TBA in Portland, fall 2007. I hope I get to see it again, again.
The piece is an attempt, I think, to be heartfelt and real, and to use a million alienation devices (bad accents, overacting, repetitive found gestures, goofy costumes, dance breaks) as a way of letting you listen to everyday conversations without associating them with specific persons or situations (the only proper nouns, till the very end, are brands of soda, movie actors, New York City, and acronyms for office forms).
The Stranger de-suggested No Dice after seeing it last night. Read Brendan Kiley's comments about the show on the Slog. Scroll down on this here blog for more reviews from other audience members.
Curious to find out about No Dice for yourself? Some tickets are still available.
Welcome to our review blog for No Dice. Read our patron reviews, click on the Comments button to read the comments of others and post your own thoughts.
No Dice is like Netflixing an entire season of a tv show you really like. You just keep watching it, even though you feel like you should probably stop and do something else. You keep watching because it feels so damn good. If you stop you’ll have to go back to your real life, where people are saying pretty much the same things you’re watching the actors say, but the actors are way better at it. No Dice is full of bizarre theatrics, gestures that repeat in a satisfyingly non patterned and non random feeling way, and melodrama that is so laugh ou
“Anyone for a peanut butter & jelly? ” “Yes, please! ” It’s not the usual way you begin a theater experience – handed a free sandwich slathered with its ingredients by one of the company’s founders and a too-perky smile – but it signaled that the next four hours of No Dice by Nature Theater of Oklahoma wouldn’t be very usual either.
“I thought we were going to get the sandwiches during intermission. ” “Oh, I thought the sandwiches were part of the show. ” “I thought we were going to be given sandwiches in brown paper bags and you’d be surprised to discover what kind they were. ” These were the beginnings of various discussions around me as I took my seat in the very large empty floor of an office building on Eastlake ”¦with my sandwich, which was made by Kelly Copper, one of Nature Theater of Oklahoma’s Directors.
No Dice is indeed off-site and it is indeed lengthy. But Steve Wiecking points out that we have a pretty good track record when it comes to epicly long performances:
I left the last On the Boards marathon—Elevator Repair Service’s six-hour Gatz —knowing I’d seen one of the best productions of 2007.
...you can find both a Suggests and a preview of No Dice. A choice line:
Critics across America and Europe have been hyperventilating over the Nature Theater of Oklahoma.
Kafka is how:
Personnel is being hired for the Theater in Oklahoma! The Great Nature Theater of Oklahoma is calling you! It's calling you today only! If you miss this opportunity, there will never be another! Anyone thinking of his future, your place is with us! All welcome! Anyone who wants to be an artist, step forward! We are the theater that has a place for everyone, everyone in his place! If you decide to join us, we congratulate you here and now! But hurry, be sure not to miss the midnight deadline! We shut down at midnight, never to reopen!
Here's a little something about Nature Theater on Seattle Weekly's site:
No Dice is joyful and childlike at one moment, then unsettling and sinister the next. There is no plot. Mundane office tasks are performed. Mel Gibson’s take on Hamlet is discussed. And, believe it or not, the time really does fly by.
zoe|juniper and Linas Phillips have been in the news in the past couple weeks.
Linas for his film Great Speeches from a Dying World.
Vancouver's straight.com previewed the PuSh Festival performances of That Night Follows Day.
NW New Works has been officially announced. Read about it on the SLOG (inluding a backstory on Queen Shmooquan) and in the Seattle Times.