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PROTOTYPE 2015 festival Opera/Theatre/Now 1/8-17/15

BETH MORRISION PROJECTS AND HERE’S

PROTOTYPE 2015:
OPERA/THEATRE/NOW

FEATURING
Abigail Fischer • American Modern Ensemble • Bora Yoon • Brooklyn Youth Chorus • Choir of Trinity Wall Street • Courtney Love • Hai-Ting Chinn • Keith Phares • Lauren Worsham • Novus NY • Rinde Eckert • Todd Almond • Timur and the Dime Museum • Vocal Theatre Carmina Slovenica

IN
THE SCARLET IBIS (WORLD PREMIERE) • Stefan Weisman/David Cote

SUNKEN CATHEDRAL (WORLD PREMIERE) • Bora Yoon

TOXIC PSALMS (NORTH AMERICAN PREMIERE)• Karmina Šilec & Others

KANSAS CITY CHOIR BOY (PREMIERE PRESENTATION) • Todd Almond

WINTER’S CHILD (WORK IN PROGRESS)• Ellen Reid/Amanda Jane Shank

AGING MAGICIAN (WORK IN PROGRESS)• Paola Prestini/Rinde Eckert/Julian Crouch

TIMUR AND THE DIME MUSEUM (ONE NIGHT ONLY)JANUARY 8–17, 2015

“A wildly promising new opera and music-theatre festival…shows the dramatic potential of black box opera.” – The New York Times

“A fertile breeding ground for interesting new work.”The Washington Post

“Kristin Marting, Beth Morrison, and Kim Whitener…found the crevices in New York’s underground opera life and filled them with inventive shows and intrepid audiences.”New York magazine

Beth Morrison Projects (BMP) and HERE present the third annual PROTOTYPE: Opera/Theatre/Now festival, running January 8–17, 2015, in New York City. This two-week festival, founded and curated by Kristin Marting (of HERE), Beth Morrison (of BMP), and Kim Whitener (of HERE), has quickly become an established force on the global opera scene. The second season, even more overwhelmingly successful than the first, left Alex Ross of the New Yorker to declare, “in an eleven-day period Prototype managed to uncover more new work of substance than City Opera was able to do in the past decade or more.””A fertile breeding ground for interesting new work” (The Washington Post), the Festival features several presentations from noteworthy voices in 2015: two world premieres – composer Stefan Weisman and librettist David Cote’s The Scarlet Ibisa contemporary opera that weaves sophisticated puppetry into its story-telling, and Korean-American artist Bora Yoon’s multimedia music-theatre work, Sunken Cathedral, which takes the audience on a surreal sonic journey of deep psychological impact. The festival also includes Toxic Psalms, an international co-presentation with Slovenian vocal theatre company Carmina Slovenica at St. Ann’s Warehouse and Kansas City Choir Boy, a theatricalized concept album by Todd Almond, at HERE. An ongoing part of the Festival’s mission, two works in progress will be presented, both Beth Morrison Projects operas in development: Winter’s Child, by Ellen Reid and Amanda Jane Shank, co-presented with Trinity Wall Street; and Aging Magician, by Paola Prestini, Rinde Eckert, and Julian Crouch, a returning work-in-progress from the inaugural Festival, here co-presented with Park Avenue Armory and Opera America’s New Works Forum. Capping things off with a one-night only performance, in collaboration with Joe’s Pub, is the smash hit from the inaugural Festival –Timur and the Dime Museum, Los Angeles’ “dark glam” opera band. These Festival presentations take place at HERE, St. Ann’s Warehouse, La MaMa, Park Avenue Armory, Trinity Church’s St. Paul’s Chapel, and Joe’s Pub, along with forums to coincide with the Association of Performing Arts Presenters (APAP) and International Society for the Performing Arts (ISPA) conferences, and the Opera America New Works Forum.Watch this space for more information, samples, and Festival extras: http://prototypefestival.org.


A B O U T   T H E   P R E S E N T A T I O N S


THE SCARLET IBIS (WORLD PREMIERE)
January 8-11; 13-14; 16-17
@ HERE
Ticketing

“…personal, moody and skillfully wrought.”The New York Times on Stefan Weisman’s music

Inspired by the 1960 short story by James Hurst, The Scarlet Ibis is an opera about brotherhood, illness, and the power of the imagination to soar above physical limitations. This world premiere by composer Stefan Weisman (Darkling) and librettist David Cote fuses singers, puppetry, and multimedia stagecraft to tell the story of Doodle, a remarkable disabled boy whose older brother pushes him to be “normal.” Set in rural North Carolina a century ago, the story contrasts notions of physical wholeness versus mystical otherness. Episodic and expressionistic, the narrative draws on elements of Southern Gothic, boy’s adventure, and domestic tragedy. OBIE Award-winning director Mallory Catlett stages the premiere, with set design by Joseph Silovsky, puppetry by Tom Lee, lighting by Jeanette Oi-Suk Yew, and costumes by Andreea Mincic. Steven Osgood cond ucts the American Modern Ensemble in a nine-member configuration.

CREDITS
Music by Stefan Weisman
Libretto by David Cote
Directed by Mallory Catlett
Music Direction by Steven Osgood
Puppetry Design by Tom Lee
Set Design by Joseph Silovsky
Lighting Design by Jeanette Oi-Suk Yew
Costume Design by Andreea Mincic
Stage Manager Alyssa K. Howard
Featuring the American Modern Ensemble

CAST
Singers:
Eric S. Brenner
Hai-Ting Chinn
Abigail Fischer
Nicole Mitchell
Keith Phares

Puppeteers:
Eric Avery
Josh Rice
Meghan Williams

Commissioned and developed through the HERE Artist Residency Program (HARP)
Co-produced by Beth Morrison Projects & HERE
Produced in association with American Opera Projects
Inspired by the short story “The Scarlet Ibis” by James Hurst, first published in the July 1960 edition of The Atlantic Monthly


SUNKEN CATHEDRAL (WORLD PREMIERE)
January 14-17
@ La Mama
Ticketing

“…operatic and intense, genre-scrambling and iconoclastic… a cut or three above the rest.”Noise Art

An archetypal journey through the subconscious, Sunken Cathedral is a multimedia performance by Korean-American composer, sonic surrealist and TED fellow Bora Yoon, fusing voice, electronics, and instruments from various cultures and centuries with evocative video design. Set in a house where things are not what they seem, and whose architecture illuminates the various chambers of the mind, body, and spirit, each chapter of this contemporary multimedia work excavates blood memory, cultural identity, and the intersections where our greatest diamonds and demons are held. Directed by Glynis Rigsby, with projections by Adam Larsen, and featuring kinetic sculptures by U-Ram ChoeSunken Cathedral traces death, life, rebirth, and the cyclical and recombinant nature of our internal and external universe. A co-presentation with La MaMa.

CREDITS
Music written and performed by Bora Yoon
Directed by Glynis Rigsby
Devised by Bora Yoon and Glynis Rigsby
Projection Design by Adam Larsen
Set Design by Tom Lee
Lighting Design by Haejin Han
Interaction Design by R. Luke Dubois
Stage Manager Angie Hesterman
Audio Design by Boris Klompus
Featuring the kinetic sculptures of U-Ram Choe

Commissioned and developed through the HERE Artist Residency Program (HARP)
Co-produced by Beth Morrison Projects & HERE

Co-presented by La MaMa


TOXIC PSALMS (NORTH AMERICAN PREMIERE)
Ultimate Chorus Collective
January 8-11
@ St. Ann’s Warehouse
Ticketing

“…Vocal Theatre Carmina Slovenica is like a laser beam through the soul. You have to hear and see it to be able to believe it.”Paarol

Vocal theatre company Carmina Slovenica, world renowned for its unconventional choral storytelling with superb singing, drama, and movement, brings its unique “choregie” concept to New York City for Toxic Psalms, an open-ended collection of scenes by Heiner Mueller, Veljo Tormis, Sergei Rachmaninoff, Karin Rehnquist, Jacob Cooper, Hafiz, Bronius Kutavičius, juxtaposing music and texts from medieval to present times. Led by internationally acclaimed conductor Karmina Šilec, the troupe creates a highly theatrical and visceral experience through vocal music that is both unexpected and provocative. The essence of Toxic Psalms is the idea of “the Collective”, embodied by a chorus of 30 young women – an organism that reflects the human desire to merge. Channeling ancient and modern humanities, the gripping repertoire invokes the Middle East, P***y Riot, Africa, weapons, extinctions, contaminations and abuses of religions. The life of man has become an unending drama of human brutality – men killing for the glory of their psalms. In the age of #YesAllWomen and #NotInMyName, Carmina Slovenica is a mighty arsenal of collective power. A co-presentation with St. Ann’s Warehouse and Carmina Slovenica.

CREDITS
Directed by Karmina Šilec
Performed by Vocal Theatre Carmina Slovenica
Costumes by Belinda Radulovič
Set Design by Karmina Šilec
Lighting Design by Andrej Hajdinjak
Sound Design by Danilo Zenko

Produced by Carmina Slovenica
Co-presented by Carmina Slovenica and St. Ann’s Warehouse


KANSAS CITY CHOIR BOY (PREMIERE PRESENTATION)
January 8-12; 14-17
@ HERE (Dorothy B. Williams Theatre)
Ticketing

“Soulful and original…”Time Out New York on Todd Almond

Kansas City Choir Boy is a theatricalized concept album about love altered by unexpected fate. A mystery told through flashbacks, the show tells the story of two lovers in small town America who separate when one goes in search of destiny and then disappears.  Borrowing themes from ancient myth, the show features songs by acclaimed composer/lyricist Todd Almond performed by rock icon Courtney Love and Todd Almond. They are joined by a chorus of sirens, and live musicians. Directed by Kevin Newbury, Kansas City Choir Boy is a love song for the computer age and a product of the 24-hour news cycle that feeds on the stories of the anonymous “missing.” Seating is limited.

CREDITS
Music and Lyrics by Todd Almond
Directed by Kevin Newbury
Performed by Todd Almond, Courtney Love, a chorus of six women, and musicians from Contemporaneous
Musical Direction by David Bloom
Choreographed by Sam Pinkleton
Set Design by Vita Tzykun and Clark Parkan
Lighting Design by DM Wood
Video Design by Darrel Maloney
Costume Design by Paul Carey
Sound Design by Brandon Wolcott

WINTER’S CHILD (WORK IN PROGRESS / NOT FOR REVIEW)
January 13-14
@ Trinity St. Paul’s Chapel
Ticketing

“brims with canny invention”LA Weekly on Ellen Reid’s work

Set in a Southern Gothic landscape, Winter’s Child reveals a world of rough earth, quiet prayer, and a mother’s fight to change her youngest daughter’s fate. This work in progress of a new opera, composed by Ellen Reid with text by Amanda Jane Shank, juxtaposes the worlds of the House, a quiet and folksy space rigidly controlled by ‘Mama,’ and The Lake, a lush mystical expanse that holds ‘Child’s’ sisters.

Esteemed conductor Julian Wachner leads a 13-member ensemble and a female chorus, their musical voices uniting to become the voice of The Lake, with whom Mother has made a Faustian deal. During each of her four pregnancies, Mama had a terrible craving for the flowers that grew by The Lake. She was allowed to take them as long as she would one day return what belonged to the water. Years passed and Mama forgot about her promise until each of her daughters were taken before their 15th birthdays—by bath, wash, and rain. On the eve of her 15th birthday, the last remaining daughter, Child, is visited by the ghosts of her three older sisters. Child is forced to confront her family’s past, her hunger for a future, and a bargain her Mama made long before her birth. A co-presentation with Trinity Wall Street.

CAST
Audrey Babcock
Lauren Worsham

CREDITS
Music by Ellen Reid
Libretto by Amanda Jane Shank
From a story by Ellen Reid, Amy Tofte, and Julianne Just
Music Direction by Julian Wachner
Featuring Novus NY and the Choir of Trinity Wall Street

Produced by Beth Morrison Projects
Co-presented by Trinity Wall Street


AGING MAGICIAN (WORK IN PROGRESS / NOT FOR REVIEW)
January 11, 13
@ Park Avenue Armory
Ticketing

“…an enigmatic détente…potent, soulful.” – The New York Times

Aging Magician returns from the 2013 Festival, continuing its developmental progress, on its way to a world-premiere in 2016-2017.  This new music-theatre work is a composite of sonic and visual elements that paints an allegory on time, youth, and the peculiar magic of ordinary life, and, perhaps, the ordinary magic of a peculiar life. Accompanied by a string quartet and a choir of young people, Aging Magician moves with Harold from the surgical repair of a timepiece to the magic show of time itself, lives and deaths, appearances and disappearances. The man’s vibrant last adventure is brought to life by a team of multidisciplinary artists who combine music, theatre, puppetry, instrument making, and scenic design to create an enduring work for the stage. This work features vocalist Rinde Eckert, a musical set by Mark Stewart, and the Brooklyn Youth Chorus. A co-presentation with Park Avenue Armory.

CREDITS
Co-Created by Paola Prestini, Rinde Eckert and Julian Crouch
Music by Paola Prestini
Stage Director and Set Designer Julian Crouch
Text and performance by Rinde Eckert
Video Design and Projection Design by S. Katy Tucker
Lighting and Projection Design by Josh Higgason
Co-Set Designer Amy Rubin
Featuring Rinde Eckert with The Brooklyn Youth Chorus, directed by Dianne Berkun-Menaker
Custom Creative Instrument made by Mark Stewart

Commissioned and produced by Beth Morrison Projects and VisionIntoArt
Co-presented by Park Avenue Armory, in association with Opera America New Works Forum and the Watermill Center


TIMUR AND THE DIME MUSEUM (ONE NIGHT ONLY)
January 11
@ Joe’s Pub
Ticketing

“Nastily seductive, dangerous” Los Angeles TimesThe 2013 PROTOTYPE smash hit dark-glam opera band Timur and the Dime Museum returns for a one-night-only presentation at Joe’s Pub. Playing songs from their Requiem for the planet, Collapse (in a preview for the NYC premiere coming up in fall 2015), originals and fan-favorite cover tunes, this will be a night not to be missed. Fusing avant-garde, pop, and vaudeville sounds, Timur and the Dime Museum creates a rich amalgam of sensibilities with Bjork fierceness and Screamin’ Jay Hawkins theatricality. Led by the rising opera singer from Kazakhstan, Timur Bekbosunov, and profiled in LA Weekly’s BEST OF LA People Issue 2011, the band’s stunning intensity brings songs to cure the new depression with a post-punk bohemian attitude.

Timur and the Dime Museum creates unconventional and fascinating sounds, combining Timur’s “charismatic tenor” (Los Angeles Times) with electric guitar, upright bass, accordion, bass clarinet, viola, and drums. Embracing the notion of multi-disciplinary contemporary projects, T&DM began a series of collaborations, directly working with composers on their music. Timur, a noted interpreter of contemporary and cross-cultural music, and the members of the band all are graduates of California Institute of the Arts, and individually, have performed in countless major projects, productions, festivals and venues around the world. A co-presentation with Joe’s Pub.

PERSONNEL
Lead Vocals by TIMUR
Keys, Accordion, Samples, Vocals by Daniel Corral
Drums by Andrew Lessman
Electric Guitar, Vocals by Matthew Setzer
Electric Bass, Vocals by David Tranchina

CREDITS
Music and Text by Daniel Corral
Sound Engineering by Jay Eigenmann
Performed by Timur and the Dime Museum

Produced by Beth Morrison Projects
Co-presented by Joe’s Pub


A B O U T   T H E   P R O D U C E R S
+   A R T I S T I C   D I R E C T
O R S


Creative producer Beth Morrison Projects identifies and supports the work of emerging and established composers and their collaborators through the commission, development, and production of their work, taking the form of opera-theatre, music-theatre, and multi-media concert works. Relying on the core values of collaboration, exploration, experimentation, artistry, and excellence, BMP provides a nurturing structure that allows artists to push the boundaries of their art form. Founded in 2006, BMP rapidly developed a reputation for “envisioning new possibilities and finding ways to facilitate their realization” (The New York Times). In eight years, BMP has commissioned, developed, and produced more than thirty-five operas and music-theatre pieces that have premiered or been performed in New York, across the country, and around the glo be. The Wall Street Journal said, “Ms. Morrison may be immortalized one day as a 21st-century Diaghilev, known for her ability to assemble memorable collaborations among artists.” BMP’s ability to recognize emerging talent, invest in the vision of living composers and their collaborators, and partner with presenters to bring new work to life has allowed it to become vital in the landscape of new music and opera. The New York Times recently said, “The production of new [opera] works in the city still falls mostly to the tireless Beth Morrison and her Beth Morrison Projects…” BMP is supported by the National Endowment for the Arts, the New York State Council for the Arts, the Department of Cultural Affairs of New York City, New Music USA, The Aaron Copland Fund for Music, The Map Fund,  a program of creative Capital supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation.BMP is led by Creative Producer Beth Morrison, an opera and theatre producer, singer, and voice teacher with bachelor and master of music degrees and a master of fine arts in theatre management/producing from the Yale School of Drama, as well as many years of experience in the development of new opera and theatre works. She first cultivated her extensive experience in arts administration at the Boston University Tanglewood Institute where she served as administrative director for four years. Beth served a founding tenure as the Producer for the Yale Institute for Music Theatre from 2009-2011, as well as Producer for New York City Opera’s VOX:Contemporary American Opera Lab from 2010-2011. Beth is also a founding producer of 21c Liederabend, a much-lauded multi-media festival of contemporary art song.  Beth is on the committee of the international Music-Theatre NOW competition hosted by the International Theater Institute (ITI) and  is a curator for the Nordic Music Days Festival in Denmark.  BMP is the realization of Beth’s vision, which stems from a deep commitment to nurturing composers and other artists and fostering the development of new opera and other new music-theatre works.

Since 1993, HERE has been one of New York’s most prolific producing and presenting organizations, and today stands at the forefront of the city’s presenters of new hybrid art. HERE supports multidisciplinary work that does not fit into a conventional programming agenda. HERE’s aesthetic represents the independent, the innovative, and the experimental. HERE has developed such acclaimed works as Eve Ensler’s The Vagina Monologues; Basil Twist’s Symphonie Fantastique; Young Jean Lee’s Songs of The Dragons Flying To Heaven; Trey Lyford & Geoff Sobelle’s all wear bowlers; and Taylor Mac’s The Lily’s Revenge. As the ultimate in hybrid forms, music-theater and opera-theater premieres developed and produced at HERE include Kamala Sankaram’s first opera Miranda, Yoav Gal’s Mosheh, Christina Campanella a nd Stephanie Fleischman’s Red Fly/Blue Bottle, and Nick Brooke’s Border Towns.

Kristin Marting is HERE’s Co-Founder and Artistic Director and a director of hybrid work based in NYC. As Artistic Director of HERE, she cultivates artists and programs all events for two performance spaces for an annual audience of 30,000. Under her leadership, HERE has garnered 16 OBIE awards, 2 OBIE grants for artistic achievement, a 2006 Edwin Booth Award (“for Outstanding Contribution to NY Theatre”) from the CUNY Graduate Center, five Drama Desk nominations, two Berrilla Kerr Awards, four NY Innovative Theatre Awards and a Pulitzer Prize nomination. She co-created and co-curates HARP, HERE’s Artist Residency Program. She also has constructed 26 works for the stage, including 12 original hybrid works, 8 adaptations of novels and short stories and 6 classic plays. She works in a collaborative, process-driven way to fuse different disciplines into a cohesi ve whole. She is now developing TRADE PRACTICES, a collaborative live art event that examines the notion of values. Recent projects include ORPHEUS, a collaborative alt-musical also co-created with David Morris; LUSH VALLEY, a live art participatory performance on citizenship, and James Scruggs’s interactive solo work DISPOSABLE MEN. She also directed SOUNDING & DEAD TECH (collaborative hybrid works inspired by Ibsen texts), both of which received MAP Fund awards. She was named Person on the Year by nytheatre.com in 2011 and recently honored with a BAX10 Award.

Kim Whitener is HERE’s Producing Director, co-curating and co-producing all of HERE’s activities.
 Since early 2007 under her leadership, HERE’s programming has grown exponentially, and several major initiatives have launched, including the PROTOTYPE festival and MADE HERE, an online video documentary series about New York performing artists. From 2001 until 2007, Ms. Whitener was an independent producer with her own company, KiWi Productions, working with a diverse range of US artists, both companies and individuals, in the contemporary theater, music-theater, dance-theater, and multi-media worlds to develop and produce new projects, working with co-producers worldwide. Her clients have included The Builders Association, Martha Clarke, Big Dance Theater, and 33 Fainting Spells, among others. Ms. Whitener was consulting producer on Logic of the Birds, artist Shirin Neshat’s live performance featuring singer Sussan Deyhim (Lincoln Center Festival, Walker Art Center, Artangel London) in 2001. She also was co-producer of Zero Church, a multi-artist concert/performance event by Suzzy and Maggie Roche, at St. Ann’s Warehouse in April 2002. Previously she was Managing Director of the ensemble theater company The Wooster Group, and worked with both the American Music Theater Festival in Philadelphia and the Boston Music Theatre Project at Suffolk University in Boston.

PROTOTYPE: Opera/Theatre/Now receives leadership funding from The Andrew W. Mellon Foundation; with other generous support from The Aaron Copland Fund for Music, Inc.; The Alice M. Ditson Fund; Amphion Foundation; The Bard Faculty Development Grant; The Charles and Cerise Jacobs Fund for New Opera; Francis Goelet Charitable Lead Trusts; The MAP Fund, supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation; Opera America’s New Works Exploration Grant; The Reed Foundation; and the Trust for Mutual Understanding.

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January 14, 2015 - Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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