People of Opposing Forces: Circle of Fire Crew Oct 14, 2014
Sat, Nov 22 | pre-show poem & Secret Mary
6 - 7pm | OtB Studio Theater
Claudia La Rocco reads from and discusses her new book, The Best Most Useless Dress (Badlands Unlimited), a selected writings featuring poetry, criticism and performance texts. How do different types of writing inform and diverge from each other, and what it is to be working in these various modes and disciplines in 2014, in relation to art forms like dance and theater? She will be joined in conversation after by the choreographer Michelle Ellsworth, with whom La Rocco has been collaborating in recent years.
Widely known as an incisive critic for The New York Times and Artforum, Claudia La Rocco is also a poet and performer whose hybrid texts are as mercurial and imaginative as her criticism. The Best Most Useless Dress reveals the breadth and depth of La Rocco's art,...
Carter "Fever One" McGlasson is a B-boy and DJ from Seattle. He relocated to New York in 1997 and joined the world famous Rock Steady crew. Dancing since age 10, he has an illustrious career as a dancer, a DJ, and a teacher. He has performed and mentored around the globe, sharing the stage with artists including Wyclef Jean and Cuba Gooding Jr. A dedicated teacher, he has lectured about the history of hip-hop Yale, Princeton, Rutgers, and the University of Washington where he was invited "to provide firsthand knowledge of the local scene and its history." Currently, he resides in Seattle and continues to pass down the B-boy tradition through teaching classes, events, judging, and choreographing internationally. A large part of his teaching time is spent working with Art Corps, Seattle's largest non-profit...
Memory is a tricky thing. Do memories stay the same over time? Absolutely not; memories sink, accumulate, evolve, ferment, sometimes even have surprising changes that are not resulted from events from the reality, but from our thinking, emotions, and changes in beliefs and perspectives. There is no need to say – to make a performance based on the them of memory would only be a trickier thing to do.
I love the way that movements, theater, picture projection, and videos were mixed so seamlessly in The Man Who Can Forget Anything. It felt the same way our memories shifted and evolved – sometimes slowly, sometimes quickly, sometimes simultaneously, sometimes in a very sneaking manner. I thought there was a big central brain that controlled the stage like a giant octopus, and every performer, props, videos and projections was only one of its legs, carrying out the tasks in the exact way the brain wanted to. Or, the central brain was the ghost of the memory and I had fell...
The performance takes its name from the quirky filmed scene in which the cast is waiting on a train station in New York. Gregg loses his hat to the wind, and it is caught by a stranger (Dickinson) who displays a special talent to forget anything he is told. After a deceptively short (or is it long?) time spent on the train platform with him, Toutonghi immediately proclaims him a member of the cast, despite his unique ability. The irony of this choice—casting a man known for his forgetfulness into a play—is just another layer of the production’s richly laid out probing of the inner workings of memory. Murphy and Lachow present these explorations and questions not only through the material of the performance, but in the structure itself—the way the storylines are braided together, taken out of context, and reassembled in a new order. Many artists and companies would do well to copy this page out of their book and harness the potential for a work’s structure to enhance the way...
I do not trust my mind to remember anything. Thus I incessantly scribble ideas down on whatever I have on hand. A passport. A handbill. A ticket stub even.
They took a very small boy and put him on top of a high high ladder in the old Eagles Auditorium. That was my son. And he sung a song from up there. It was a very long time ago so I can’t remember exactly what song it was, although it was a song from the musical Suessical.
A brush with the divine
I was trying on a dress in the vintage shop Mike’s Old Clothes, in a version of Seattle no one remembers anymore. The dress had a peculiar sash which I found myself frankly at odds with. I emerged from the dressing room with the two ends akimbo. A man leapt out from the shadows and tied it with a flourish. I recognized him as the dancer Mark Morris. I was too timid to tell him it was I!-the girl-child he had dedicated his solo ...
In the most poignant and hilarious scene of The Man who can Forget Anything Gregg Lachow and Megan Murphy show their 10th grade son all the film and video footage from their artistic career. In this projected video, a bewildered Charile Lachow is led to the closet of their current New York apartment, where the films are stuffed. His dad explains the method of showing film, and the regrets contained in the work. Megan eases him into the video footage, stating that he should start with five hard drives on the desk, and that there are 41 more- vaguely gesturing behind her.
Seeing multi-generational family performances at On the Boards is a rare experience. Watching these Lachow kids grow up on screen and on stage is a true joy.
I remember two Christmases ago I was visiting my father in Tulsa. We were riding around in the outskirts of the city, looking for a quick lunch we and our strange brand of humor went and took pictures in front of the enormous praying hands at Oral Roberts university.
We’d decided on Thai, and were pulling out from a drive through we were using to make a U-turn, when he turned to me and said: “Son, this is as good a time as any to tell you what to do with my remains. I’d like to be cremated; don’t spend much money on it either, I don’t need a fancy box. Take some of me to Conway, in South Carolina, some to the Atlantic Ocean, some to Colorado, and some with you. I don’t want a huge service, just the family. You should know I just revised the will yesterday; it will go to support you and your brother and Amy, but your mother is now off the will. She is fine with this; I spoke with her first. Do you have any questions?”