CoHo Productions http://www.cohoproductions.org Co-producing innovative, up-close theatre in NW Portland's Slabtown neighborhood. Tue, 18 Jul 2017 18:58:01 +0000 en-US hourly 1 https://wordpress.org/?v=4.5.9 http://www.cohoproductions.org/wp-content/uploads/2016/07/cropped-CoHoProductions_logo-1-32x32.jpg CoHo Productions http://www.cohoproductions.org 32 32 67263138 False Narratives & Chilled Vodka http://www.cohoproductions.org/blog/false-narratives-chilled-vodka/ http://www.cohoproductions.org/blog/false-narratives-chilled-vodka/#respond Tue, 11 Jul 2017 22:17:17 +0000 http://www.cohoproductions.org/?p=6345 Deception Unit #CoHoSummerfest Week 5 Photo Credit Owen Carey by Portland Experimental Theatre Ensemble July 13 – 16, 2017 Unreliable Narrator. Suffocating Subtext. Lies, all lies. Kitchen sink realism is slowly suffocated with a pillow of subtext, and the narrative goes[...]

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Deception Unit
#CoHoSummerfest Week 5

Credit Owen Carey

Photo Credit Owen Carey

by Portland Experimental Theatre Ensemble

July 13 – 16, 2017

Unreliable Narrator. Suffocating Subtext. Lies, all lies.

Kitchen sink realism is slowly suffocated with a pillow of subtext, and the narrative goes into witness protection. A fake Polish punk band takes over as the protagonist, but whoever’s been translating their lyrics is deeply unreliable. A celebration of false narratives and radical fraudulence, Deception Unit revels in the ways we’ve been fooling ourselves all along.

Deception Unit

_____________________>>>SUBtexT

 

 

ViRTuaL || Re@liTy <<<<—————-

 

>>>>>>>>p0liTe DiNN3r C0nVers@Tion

 

HOTLICKS

 

 

^
^
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s

 

                                             [[[[[[[[[[[[[[[[[[[[Cold WAR]]]]]]]]]]]]]]]]]]]]]]]]]

CHill3d V0dk@ ∞∞

rAdical FraUduLeNC3

–*———————***——————— illusioN ——–*———————    

····Deep·Ly UnR3liaBl··E

JOiN Us PlE@se  

…..~~ De/CepT/iOn >>..////

“…unapologetically experimental, technically sophisticated, and engaged with questions about what role theater can play in contemporary culture.” – Portland Mercury

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Eric Davis on Pushing Boundaries and Reining in Red Bastard http://www.cohoproductions.org/blog/eric-davis-pushing-boundaries-reigning-red-bastard/ http://www.cohoproductions.org/blog/eric-davis-pushing-boundaries-reigning-red-bastard/#respond Mon, 03 Jul 2017 21:01:27 +0000 http://www.cohoproductions.org/?p=6333 Red Bastard: Lie With Me #CoHoSummerfest Week 4 Red Bastard: Lie With Me by Eric Davis July 6 – 9, 2017 Despicable. Embarrassing. No Happy Ending. What kind of monster would have an affair? You’re about to find out… Every-single-one-of-you. A[...]

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Red Bastard: Lie With Me

#CoHoSummerfest Week 4

Red Bastard

Red Bastard: Lie With Me

by Eric Davis

July 6 – 9, 2017

Despicable. Embarrassing. No Happy Ending.

What kind of monster would have an affair? You’re about to find out… Every-single-one-of-you.

Red Bastard: Lie With Me

A comedy monster. A diabolical clown. A whore, a fascist, an anarchist. Red Bastard has been called all of these things while simultaneously receiving international critical acclaim for his notorious self-titled show. Sellout crowds at the Edinburgh Fringe Festival and beyond have been cajoled, provoked, pushed, seduced, and dared to participate under the Red Bastard regime. But Eric Davis, the man behind Red Bastard, knows that even a bulbous bouffon can take a softer approach when it comes to love. In Red Bastard: Lie With Me, July 6-9 at CoHo Summerfest, Davis explores the lies we tell our lovers and the bastards who made us lie in the first place with wry humor and twisted tactics. We asked Davis about his own relationship with Red Bastard and pushing the boundaries of performance to create a theatre experience like no other.

COHO
The CoHo office staff is equally delighted by, enthusiastic about, and terrified of Red Bastard, which seems appropriate because you’ve called him a whore, an anarchist, and a fascist. The performances can be a pretty polarizing experience for the audience. Do you find that Eric Davis the performer and Red Bastard the character have contrasting goals when interacting with the audience? How do you and Red Bastard work together to figure out what each audience needs/wants during a performance?

ERIC DAVIS
Now that LIE WITH ME is coming together, I realize it’s a very different type of show than RED BASTARD (though it has the same character). It will have different tactics. It deals with love which must be more gentle.

Ultimately, Red Bastard is a part of me – not the whole – obviously, so he gives voice to my id, I believe. So I must be Super Ego.  Red Bastard would have endless appetite. I keep the reins on him, though. Somebody sane must be in charge. I was in a mask workshop where someone was performing in a mask, and was unable to take it off in the end. They’d given way to the mask and the instructor had a very difficult time bringing them back. It literally ended in convulsions and a wrestling match.  It made an impression on me. Someone has to be in charge and keep things grounded.

COHO
What famous person, living or dead, would Red Bastard most like to meet? And how would that interaction play out?

ERIC DAVIS
Jesus Christ. I think Red Bastard would give him a few warnings of what people were going to do in his name. Better write it all down yourself. Before they fuck it all up.

Red Bastard doesn’t mess around, and neither should you. Lie with Davis and Red Bastard before they return to the Edinburgh Fringe Festival this August – if you dare.

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Mike Pence at the Intersection of Art and Activism http://www.cohoproductions.org/blog/mike-pence-intersection-art-activism/ http://www.cohoproductions.org/blog/mike-pence-intersection-art-activism/#respond Tue, 27 Jun 2017 21:56:24 +0000 http://www.cohoproductions.org/?p=6324 #CoHoSummerfest Week 3 Come to the Table, Mike Pence A Visual and Aural Feast by Shaking the Tree June 29 – July 2 Politicians. Pomegranates. Dinner is served. There are some things Mike Pence will never do. He definitely won’t[...]

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#CoHoSummerfest Week 3

ShakingTheTree_MikePence credit Sophie Van Der MerweCome to the Table, Mike Pence

A Visual and Aural Feast

by Shaking the Tree

June 29 – July 2

Politicians. Pomegranates. Dinner is served.

Come to the Table, Mike Pence

There are some things Mike Pence will never do. He definitely won’t have a meal alone with a woman who isn’t his wife, and he won’t support the public funding of or personally donate to Planned Parenthood.

Or…will he?

Shaking the Tree extends an enticing invitation to America’s Vice President to do both in Come to the Table, Mike Pence opening June 29 at CoHo Summerfest. Whether he accepts the invitation or not, their profits from the weekend’s performances will be donated to Planned Parenthood.  

pence_defundPence is notorious for his staunch anti-abortion stance and his opposition to the public funding of Planned Parenthood, prompting women across the country to donate to the women’s health organization in his name. Hundreds of women have also left detailed messages about their menstrual cycles for the VP in a movement known as “Periods for Pence.” Additionally, his personal no dinner with women policy has generated controversy because it implies that women should continue to be excluded from positions of power. He is reportedly conservative with his dessert choices as well, opting for a fruit plate after dinner instead of a decadent slice of chocolate cream pie. 

In Come to the Table, Mike Pence, three undeniably powerful women challenge Pence’s personal and political convictions with intelligence, guile, and a whole lot of sexy fruit. At the intersection of art and activism, the production dares to question a high ranking government official while offering financial support to one of his least favorite causes. A kind of progressive troll, if you will. Director Samantha Van Der Merwe chose the characters and the actors portraying them to simultaneously challenge and appeal to facets of Pence’s belief system. Eve (played by Anya Pearson), the first woman and the original temptress, appeals to Pence’s Evangelical Christian sensibility, but will he bite that apple? Salome (played by Rebecca Foster) has the dangerous ability to seduce, and the power to destroy those fighting against sin. Elizabeth I (played by Matthew Kerrigan) is one of the most formidable women in history, wielding governmental might and cultural influence in a masculine manner Pence can only dream of. How can he refuse a meal with her?

Tickets for Pence’s sumptuous, seductive feast are available now. And if you’re in the mood to tempt and tantalize the VP yourself, support Shaking the Tree by purchasing the phallic or yonic food item(s) of your choice here.

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Kelly Kinsella on anxiety, cake, and one person shows http://www.cohoproductions.org/blog/kelly-kinsella-anxiety-cake-one-person-shows/ Thu, 15 Jun 2017 17:43:09 +0000 http://www.cohoproductions.org/?p=6311 #CoHoSummerfest Week 2 How to Do a One Person Show by Kelly Kinsella June 22 – 25 NYC Comedian. Panic Attack. Beautiful Realization. The New York Times has called solo performer Kelly Kinsella “terrific and zany” and so she has[...]

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#CoHoSummerfest Week 2

Kelly FinalHow to Do a One Person Show

by Kelly Kinsella

June 22 – 25

NYC Comedian. Panic Attack. Beautiful Realization.

The New York Times has called solo performer Kelly Kinsella “terrific and zany” and so she has been invited to a theatre near you to do a one person show about anything she wants! In her “slinky and smart” way (BackstageNY), Kelly shares her panic about not actually having a show by creating one in front of us. It’s a Ted Talk gone wild. Through the journey of learning how to create a show she comes to the beautiful realization of why do a one person show. Oh just come, there will be cake.

How to Do a One Person Show

If the prospect of sitting through a one person show complete with labored character voices, a coat rack full of wacky costumes for quick changes, and a Carrot Top-style trunk of zany props gives you tingles of apprehension, you’re not alone. But fear not! The sparkling and hilarious Kelly Kinsella delivers a one-person show about the panic-inducing challenges of doing a one-person show without resorting to the usual gimmicks of the one-person show while creating a one-person show right in front of you in How to do a One Person Show. Also, there will be cake!

Kinsella is known for her one person shows, having now created four of them for herself in addition to leading workshops for artists interested in making their own. Few can match her skill as a solo performer who makes being human both relatable and highly comedic. CoHo asked Kelly about her upcoming performances as part of Summerfest, anxiety brain, funny women in elevators, and, of course, cake.

COHO
One person shows are rarely conceived and executed by just one person, and you’ve collaborated with Padraic Lillis often. How did your creative relationship begin? What is your collaborative process like?

KELLY KINSELLA (KK)
Pad directed me in a college production of The Caucasian Chalk Circle – I love working with Pad because he is so intelligent and patient and respectful of actors and the process. My shows are comedic so Pad is there to remind me of the poetry and vulnerability that a theatre piece desperately needs to make the comedy shine -like a diamond. We go to the dark side and then emerge with treasures- like Indiana Jones does with whoever his partner in crime is for that particular movie. On his own he gets into trouble, but with a partner he makes it out alive and ready for the next adventure! 

COHO
You were last onstage at CoHo in 2016’s Summerfest with When Thoughts Attack, your one person show about living with anxiety. Does your anxiety brain cooperate with you while you’re performing, or is it just a constant buzz of “oh my god I’m the only person on this stage and everyone is looking at me and what if I trip”?

KK
On good days I’m channeling. The anxiety gets me onto the stage and in a zone and then I run with it. On bad days, if I feel I haven’t grabbed my audience early in, I start to panic…well…at least question my abilities. And yes, that’s when the existential shit comes up and I start to psyche myself out. But that can happen to me while driving a car so…I don’t like to blame the stage for it.

COHO
One reviewer referred to you as “a young Amy Sedaris,” which is a pretty great compliment. If you had to describe yourself as “a young (fill in the blank)” who would you fill in that blank with and why?

I love Amy- it is a great compliment. I run into her in the elevator at my therapist’s office in NYC all the time and I want to say- “Hey, will you come to my show? I think you’d like it. People say we’re a lot alike.” But instead I smile and say “Hi Amy,” ….like a creeper. Now if I say to her “We’re a lot alike!” …I think she’d pull the emergency STOP and kick me in the pu—y.

Anyway, I would compare myself to -dare I say- the GREAT Cloris Leachman! She is a comic actress. She can pick up a script and immediately apply her unique interpretation. I look forward to the days when I will be back working with an ensemble on a script where I can put my stamp on it, you know, change it up a bit to suit the needs of my particular contribution to the story…without having to write the whole damn thing myself!

COHO
There’s cake in the show. People seem to like cake. Can you describe the best cake you’ve ever had?

KK
Wow! I LOVE cake!!!! But my favorite kind is traditional white on white wedding cake. I always have at least two slices. That’s because I’ve never been married and I want to make sure I get my fill.

If you’re in need of a little pre-cake before getting your fill of How to Do a One Person Show, we recommend this vanilla cupcake recipe from Kelly’s elevator buddy Amy Sedaris. And we recommend you reserve your tickets to see Kelly Kinsella now!

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Diana Lynn Small on Audiences, Story Development & Goat Videos http://www.cohoproductions.org/blog/mad-goats-diana-lynn-small-shares-thoughts-audiences-story-development-goat-videos/ Mon, 05 Jun 2017 18:20:19 +0000 http://www.cohoproductions.org/?p=6303 #CoHoSummerfest Week 1 Mad & A Goat by Diana Lynn Small June 15 – 18 Student Loan Debt. Goat Farm Cult. Beer & Biscuits. MAD & A GOAT is a two-women show about one woman who, to free herself from[...]

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#CoHoSummerfest Week 1

Mad & A Goat

by Diana Lynn Small

June 15 – 18

Student Loan Debt. Goat Farm Cult. Beer & Biscuits.

MAD & A GOAT is a two-women show about one woman who, to free herself from college debt, joins a Wyoming goat farm she inherits from her occult-leader birth parents. There is seduction. There is beer. There are biscuits. And let’s not forget about the goats.

Mad & A Goat

From fresh local goat cheese at the farmer’s market to goat yoga in a barn, Oregonians love their goats. Back in the good old days (2011) Portland even hosted a charming herd of urban goats on SE 10th and Belmont in a 2-acre meadow that is now home to the oft maligned Goat Blocks apartment building. If you’re among the lovers of spirited, eat-anything, bleating, four-legged friends and don’t mind them mixed with a heavy dose of snark, seduction, cult-leader parents, student loan debt, and beer, Diana Lynn Small’s Mad & a Goat is right up your alley.

Small’s two-woman show, featuring actors Heather Johnson and Paige Tautz, kicks off a stellar CoHo Summerfest with four performances June 15-18. Small, Tautz, and Johnson have honed this bizarrely funny story into an intimate, intricate, synchronized world where biscuits are plentiful and relationships are questionable. Mad & a Goat debuts in Portland following acclaimed performances at the Fort Collins Fringe Festival (CO), Austin Frontera Fest (TX), Crossroads Denver Theater (CO), The Cohen New Works Festival at UT Austin (TX), Westmont College Santa Barbara (CA), and Brooklyn Yard (NYC).

We asked Small about the play’s development process, audience responses, and, most importantly, internet goat videos.

COHO: What is the strangest response you’ve gotten from an audience member about Mad & a Goat? What is the loveliest?

Diana Lynn Small (DLS): The audience response to Mad & a Goat consistently surprises me. The play’s tone is very slippery between high absurdity and deep sincerity, so audiences will laugh at moments of the play that can be very shocking to me. One audience member found himself weeping at the end of the play and sourced it to a line in the play that I find to be very meaningful to me, but is rarely recognized in the audience response. Finding an audience member who is moved in the same way as me at a point in the play reminds me of the significant and beautiful union between theater maker and watcher. One time a couple in the audience howled with laughter almost throughout the entire play and then after the show told me they used to own a goat farm in the south. Their relationship to the play took on this whole biographical significance for them.

COHO: You both wrote and directed Mad & a Goat – did you make any discoveries about your play as a director that you weren’t aware of as a writer? Or vice versa?

DLS: When I was first developing the play with Heather Johnson, I also acted in it. We performed that version of the play twice (in Fort Collins, CO and Austin, TX) and I recognized that I loved the show so much and wanted it to have a good, long life that I could not make that happen while wearing, really, four hats because I am also the producer (enter the fabulous Paige Tautz). But being inside the play helped significantly in the sharpening of the play’s narrative and clarity; it bonded Heather and I in a way that actors can where Heather felt completely comfortable interjecting during practicing a scene to ask questions about story holes and make suggestions as to how to punctuate moments. We felt like equals in the rehearsal room, both having a very clear passion for the project, but a kind of senselessness as to what the hell we were doing (we were literally rehearsing for a wall in Heather’s garage since the “director” was inside the play, too).

The opportunity in directing my own play is I could compose the physical and text languages of the play at the same time. I often make edits during a rehearsal and sometimes those edits will be cutting language to replace it with action and there was no one I had to double-check with about that. The play changes every time we perform it; that was a deal we made from the beginning. In this way, in directing and writing Mad & a Goat, it has become a piece that strengthens my writing and directing each time I return to it. I think this is also true for Heather & Paige as performers.

COHO: When you google “mad and a goat,” nine of the top ten results are about your play, and one of them is a youtube video entitled Angry Billy Goat Terrorizes Town.  Have you seen this video? Are there other goat-related videos you wish would show up with the “mad and a goat” google search?

DLS: I haven’t seen that video or I don’t remember! I didn’t do a lot of online research to write the play. I was lucky enough that my collaborator, Heather Johnson, was working on a small goat farm at the time I was writing the show. We would have Skype dates where she would share goat-farming best practices with me, as well as encounters with the goats that were particularly strange or significant to her. Then, when Paige Tautz & I toured the show to Heather’s hometown of Fort Collins, CO, we visited that goat farm, meeting the goat residents. But since touring the play, I get a lot of goat videos shared with me and it’s always a little startling because the goats in Mad & a Goat are more surreal in my imagination than real and it’s startling to be reminded of what and how a goat actually is.

If anyone needs a reminder of what and how a goat actually is, the CoHo staff recommends the following:

  

We also recommend getting your tickets for Mad & a Goat! Individual tickets and Summerfest passes are available now!

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Deception Unit http://www.cohoproductions.org/archives/deception-unit/ Tue, 30 May 2017 23:28:11 +0000 http://www.cohoproductions.org/?p=6290 #CoHoSummerfest Week 5 Deception Unit by Portland Experimental Theatre Ensemble July 13 – 16, 2017 Unreliable Narrator. Suffocating Subtext. Lies, all lies.   Kitchen sink realism is slowly suffocated with a pillow of subtext, and the narrative goes into witness[...]

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#CoHoSummerfest Week 5
Credit Owen Carey
Credit Owen Carey

Deception Unit

by Portland Experimental Theatre Ensemble

July 13 – 16, 2017

Unreliable Narrator. Suffocating Subtext. Lies, all lies.

 

Kitchen sink realism is slowly suffocated with a pillow of subtext, and the narrative goes into witness protection. A fake Polish punk band takes over as the protagonist, but whoever’s been translating their lyrics is deeply unreliable. A celebration of false narratives and radical fraudulence, Deception Unit revels in the ways we’ve been fooling ourselves all along.

“…unapologetically experimental, technically sophisticated, and engaged with questions about what role theater can play in contemporary culture.” – Portland Mercury

Deception Unit

Production Credits:

Created by Portland Experimental Theatre Ensemble (PETE)

Directed by Jacob Coleman
Text by Robert Quillen Camp
Performer/Creators: Rebecca Lingafelter, Cristi Miles, Amber Whitehall and Jim Vadala

Sound design by Mark Valadez
Scenic/Video design by Peter Ksander
Lighting design by Miranda K Hardy
Costume design by Jenny Ampersand

Design Tech by Trevor Sargent
Stage Management by Kristina Mast
Asst. Stage Management by Rosie Lambert
Costume Assistance by Hannah Edelson

Portland Experimental Theatre Ensemble

Portland Experimental Theatre Ensemble is a company of theatre artists dedicated to creating new plays that reify the relationship between audience and artist. We develop original performances and produce innovative interpretations of classical text. We challenge established notions of theatrical form and content with innovative modes of practice, presentation, and organization to create work that is visceral, raw, and revealing.

PETE has been making performance since its inception in 2011, with work including the sea-shanty cabaret Drowned Horse Tavern (2015), All Well, a sound-play in darkness (2015), Juli Crockett’s [or, the whale] (2016), Procedures for Saying No, developed with Robert Quillen Camp (2016), Fornes’ Enter THE NIGHT, with director Alice Reagan (2015), the premiere of a new English translation of Chekhov’s The Three Sisters, with translator/director Stepan Simek (2014), R3, a new adaptation of Shakespeare’s Richard III (2013), and a performative lamentation, Song of the Dodo (2013). PETE’s work has been produced at Summerfest, Risk/Reward, On the Boards, Caldera, and PCS’s JAW Festival. Coming next: the world premiere of a new English translation of Chekhov’s Uncle Vanya with translator/director Stepan Simek, to open in January 2018.

PETE is Jenny Ampersand, Robert Quillen Camp, Jacob Coleman, Miranda Hardy, Peter Ksander, Rebecca Lingafelter, Kristina Mast, Paige McKinney, Cristi Miles, Mark Valadez, and Amber Whitehall. More at www.petensemble.org

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Red Bastard: Lie With Me http://www.cohoproductions.org/archives/red-bastard-lie/ Tue, 30 May 2017 23:27:27 +0000 http://www.cohoproductions.org/?p=6286 #CoHoSummerfest Week 4 Red Bastard: Lie With Me by Eric Davis July 6 – 9, 2017 Despicable. Embarrassing. No Happy Ending.     What kind of monster would have an affair? You’re about to find out… Every-single-one-of-you. Beware! Red Bastard[...]

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#CoHoSummerfest Week 4
Red Bastard
Red Bastard

Red Bastard: Lie With Me

by Eric Davis

July 6 – 9, 2017

Despicable. Embarrassing. No Happy Ending.

 

 

What kind of monster would have an affair? You’re about to find out… Every-single-one-of-you. Beware! Red Bastard is coming to Portland to expose the lies we tell our lovers and those Bastards who made us lie in the first place!

“a provocative comedy phenomenon who – by using outrageous party games and encouraging audiences to confess their darkest secrets to the room – promises that something interesting must happen every 10 seconds.” – Telegraph

Red Bastard: Lie With Me

Production Credits:

Written and Performed by Eric Davis

Co-Written and Directed by Aitor Basauri

Eric Davis

Eric has won awards for Best Theatre, Most Outrageous Show, Best Solo Performance and Community Commitment as well as numerous Best of Fests. Red Bastard was voted top 5 shows of 2013 for the U.K. Mr. Davis was a lead clown for Cirque du Soleil’s Iris. His production of Bouffon Glass Menajoree- Nominated for Outstanding Production, Outstanding Ensemble, Outstanding Original Short Script and Outstanding Director by the NY Innovative Theatre awards. He also provided direction and writing for Butt Kapinski and Kill Me Loudly: A Clown Noir. Mr. Davis combines his training in Bouffon, Clown, improvisation, Lecoq technique and Dance.

Special Thanks

Amanda Zidow; Louis Pearl and Jetty Swart; Mary Rose and Sean Bowie; Giovanni Fusetti; Mimosa Lindahl and Stella; Gag Reflex and the Galton Agency; and CoHo Productions for the invitation.

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Come to the Table, Mike Pence http://www.cohoproductions.org/archives/come-table-mike-pence/ Tue, 30 May 2017 23:25:47 +0000 http://www.cohoproductions.org/?p=6283 #CoHoSummerfest Week 3 Come to the Table, Mike Pence A Visual and Aural Feast by Shaking the Tree June 29 – July 2 Politicians. Pomegranates. Dinner is served. Three of history’s most influential woman Eve, Salome, and Queen Elizabeth I,[...]

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#CoHoSummerfest Week 3

ShakingTheTree_MikePence credit Sophie Van Der MerweCome to the Table, Mike Pence

A Visual and Aural Feast

by Shaking the Tree

June 29 – July 2

Politicians. Pomegranates. Dinner is served.

Three of history’s most influential woman Eve, Salome, and Queen Elizabeth I, try to get Mike Pence to come and join them at a large table, laden with fruit, but he never shows up. Why won’t he dine with them? Should he be afraid? Come to the table and join the conversation. We dare you. *All profits will be donated to Planned Parenthood.

“Among Portland’s best theatre companies, putting on a wonderful mix of classic and contemporary with an emphasis on the visual.” – Oregonian

Come to the Table, Mike Pence

Production Credits:

Devised and directed by Samantha Van Der Merwe of Shaking the Tree Theatre

with performers Matthew Kerrigan, Anya Pearson* and Rebecca Foster

*Member of Actors Equity Association

Shaking the Tree Theatre

Shaking the Tree seeks to meld the boundaries of theatre and visual art by presenting audiences with thrilling and immersive theatrical experiences. Founded in 2003 by Samantha Van Der Merwe, Shaking the Tree uses innovative ways to inhabit space, creating a heightened surrounding that allows audiences to experience a deeper, more active connection to the work. Our beautiful warehouse is located on SE 9th and Grant, and our next show will be the Caucasian Chalk Circle by Bertolt Brecht (opening October 2017). Shaking the Tree thrives on strong artistic collaborations with brilliant artists. To read more about who we’ve collaborated with on this project, please visit http://www.shaking-the-tree.com/about.html

Samantha Van Der Merwe

Samantha is the founding Artistic Director of Shaking the Tree Theatre, where she directs theatrical productions and teaches drama classes for children aged 5 and up. She is a Licentiate of Trinity College, London and holds an (LTCL) Teaching diploma in Speech and Drama. She founded Shaking the Tree in 2003, and after a few years as a thriving art and drama studio, she began directing. Projects include: Statements After an Arrest Under the Immorality Act  (Athol Fugard)- Feb 2009, The Little Prince (Antoine de Saint-Exupery)- Oct 2010, The Tripping Point: a theatrical exhibition of eight fairytale installations (Playwrights West)- Feb 2011, Far Away  (Carol Churchill)- Sept 2012, Wilde Tales (Oscar Wilde/Adapted by Karin Magaldi)- Oct 2013, One Flea Spare (Naomi Wallace)- Feb 2014, pool (no water) by Mark Ravenhill – for Theatre Vertigo- April 2014, Masque of the Red Death (Edgar Allan Poe, featuring Playwrights West)- Oct 2014, Suddenly Last Summer (Tennessee Williams)- April 2015, Passion Play (Sarah Ruhl)- Sept 2015, the Dissenter’s Handbook (Dario Fo)- Dec 2015, A Doll’s House (Henrik Ibsen)- April 2016, Orpheus and Eurydice (Devised)- July 2016, Head. Hands. Feet. -October 2016, Venus and Adonis (William Shakespeare)- July & December 2016, We’re All Mad Here (Devised)- January 2017, and Miss Julie- May 2017.

Special Thanks

Malala Yousafazi “We realize the importance of our voice when we are silenced”

Hafsat Abiola “Any society that is silencing its women has no future.”

Andre Lorde “Your silence will not protect you.”

 

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How to Do A One Person Show http://www.cohoproductions.org/archives/one-person-show/ Tue, 30 May 2017 23:23:44 +0000 http://www.cohoproductions.org/?p=6280 #CoHoSummerfest Week 2 How to Do a One Person Show by Kelly Kinsella June 22 – 25 NYC Comedian. Panic Attack. Beautiful Realization.     The New York Times has called solo performer Kelly Kinsella “terrific and zany” and so[...]

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#CoHoSummerfest Week 2

Kelly FinalHow to Do a One Person Show

by Kelly Kinsella

June 22 – 25

NYC Comedian. Panic Attack. Beautiful Realization.

 

 

The New York Times has called solo performer Kelly Kinsella “terrific and zany” and so she has been invited to a theatre near you to do a one person show about anything she wants! In her “slinky and smart” way (BackstageNY), Kelly shares her panic about not actually having a show by creating one in front of us. It’s a Ted Talk gone wild. Through the journey of learning how to create a show she comes to the beautiful realization of why do a one person show. Oh just come, there will be cake.

“There’s no question that Kelly Kinsella knows how to do a one person show.”-Theatre is Easy

How to Do a One Person Show

Production Credits

Written and Performed by Kelly Kinsella

Co-written and Directed by Padraic Lillis

Kelly Kinsella (Performer/Writer)

How To Do a One Person Show was an official selection and commission for the tenth annual soloNOVA Festival in New York, NY. Regionally it has played at the Women’s Theatre in Parsippany, NJ as well as Shadowland Theatre and The Chenango River Theatre in upstate New York. Her third one woman show, When Thoughts Attack (“She’s like us, just funnier.”- nytheatre.com), was presented in Portland at CoHo Summerfest 2016, and she is thrilled to be invited back. Kelly has been performing both shows and teaching “The Art Of Solo Performance” at universities including SUNY New Paltz, SUNY Ulster, SUNY Orange, Felician University in NJ, Belmont University in Nashville,TN, and the University of Central Florida. WTA has previously been presented in Provincetown, MA as part of Women’s Week, Off-Broadway at the Duke on 42, the Labrats, ArsNova, Emerging Artists, and The Actors Fund of NY as well as regionally, all over the eastern seaboard. Her one woman show, Kelly Kinsella Live! Under Broadway (Top 20 Performances to Remember-BackstageNY) was selected as part of the 2008 New York International Fringe Festival and was produced at the Upright Citizen’s Brigade Theatre (NYC and LA), ArsNova, Joe’s Pub, and The Metropolitan Room.  Her first one woman show, Excuse Me, I Appear to Have Misplaced My Soul, was a critic’s pick at the Orlando Fringe Festival. Kelly is a Manhattan Monologue Slam champion. She performs stand up in NYC, Los Angeles and Boston. Kelly is a cast member of Joe’s NYC Bar traveling to Edinburgh Fringe Festival this August and playing Off-Broadway in NYC this fall.

 

 

SPECIAL THANKS

I thank myself for wearing all the hats and doing all the jobs that are required when taking on the foolish task of doing a one person show. But even so, “It takes a village,” and I am very lucky to have a reliable community of talented artists that made this particular production flow.
I would like to thank Joseph Leo Bwarie, the artistic director of The Falcon Theatre in Los Angeles, CA where I currently reside for staging and rehearsal space; Peter Gregus for choreography, David Anzuelo of the LAByrinth Theatre Company for fight choreography, Kiff Scholl for my genius marketing campaign, Damon Kupper for hosting my stay in Portland, Philip Cuomo for picking me up from the airport (again) and providing me with all around Oregon support along with Kristyn Fix and Deanna Joyer at the Columbia Center for the Arts in Hood River.

 

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Mad & A Goat http://www.cohoproductions.org/archives/mad-a-goat/ Tue, 30 May 2017 23:22:22 +0000 http://www.cohoproductions.org/?p=6276 #CoHoSummerfest Week 1 Mad & A Goat by Diana Lynn Small June 15 – 18 Student Loan Debt. Goat Farm Cult. Beer & Biscuits. MAD & A GOAT is a two-women show about one woman who, to free herself from[...]

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#CoHoSummerfest Week 1

Mad & A Goat

by Diana Lynn Small

June 15 – 18

Student Loan Debt. Goat Farm Cult. Beer & Biscuits.

MAD & A GOAT is a two-women show about one woman who, to free herself from college debt, joins a Wyoming goat farm she inherits from her occult-leader birth parents. There is seduction. There is beer. There are biscuits. And let’s not forget about the goats.

“brutally funny… commanding, utterly in-sync performances…told in equal parts narration and movement…Exciting and raw…” – Santa Barbara Independent

Mad & A Goat

Production Credits

Written and Directed by Diana Lynn Small

Performances by Heather Johnson and Paige Tautz

Lighting Design by Rachel Alulis

Production Design by Madison Blaize-Russ and Diana Lynn Small

Developed with support from ScriptWorks’ Seed Support Fund. For more information about ScriptWorks, visit www.scriptworks.org

About the Artists

Diana Lynn Small (Writer/Director)

Diana writes, acts, and directs for the stage. She is a Co-Artistic Director of Salvage Vanguard Theater in Austin, TX with Florinda Bryant and Jenny Larson. Diana earned her MFA in playwriting from the Michener Center for Writers at UT Austin.  Her two-woman show Mad & a Goat has toured to six cities since it was developed in 2013. Her play Good Day was selected for the 2015 Great Plains Conference PlayLabs, Kitchen Dog Theatre’s New Works Festival and was a finalist for the 2015 Play Penn Conference.  Diana has worked with paper chairs theatre company in Austin having directed Elizabeth Doss’s play Mast and performing/dramaturging Doss’s play Poor Herman and sharing the world-premiere of her play Hot Belly with The Syndicate in NYC. She is pursuing a Master of Divinity at Austin Presbyterian Theological Seminary. Diana returns to stories about the American West, past and present. She grew up in Martinez, California three miles south of the Shell Oil Plant and three miles east of the John Muir Historic House.

Rachel Alulis (Lighting Designer) lives in Brooklyn, NY. Rachel holds an MFA in Lighting Design from UT Austin. Rachel works for the Lighting Design Group at CNN.

Heather Johnson (Performer) lives in Fort Collins, CO. Heather is the founder and Co-Producer of the Fort Collins Fringe Festival and Co-Director of La-De-Da Performing Arts.

Paige Tautz (Performer) lives in Santa Barbara, CA. Paige is a company member of Lit Moon Theater Co. in collaboration with the Bitola International Shakespeare Festival.

Special Thanks

Deborah Small and Bethany Small

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