One with Others
THURS JAN 8, 8:30 PM
FRI JAN 9, 8:30 PM
SAT JAN 10, 5:30 PM
SUN JAN 11, 5:30 PM
Run time: 70 minutes
ABRONS ARTS CENTER UNDERGROUND THEATER
466 Grand Street / tickets $20
Dance, words, and scrap wood are the raw materials for One with Others, an examination of who we become due to the choices we make—or that others make for us. Crude, handmade wooden appendages—part prop, prosthetic, costume—stand alongside text and choreography to form a trio of jerry-rigged tools that dismantle affinities and art; who we are to each other; and what it means to be seen, handled, used, and needed.
One with Others was made possible in part with a research and development residency and co-production support by Vermont Performance Lab with funding support from the New England Foundation for the Art’s National Dance Project with lead funding from the Doris Duke Charitable Foundation and VPL’s Creation Fund donors. The creation and presentation of One with Others is supported by the National Endowment for the Arts in cooperation with the New England Foundation for the Arts through the National Dance Project. Major support for NDP is provided by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, with additional support from the Community Connections Fund of the MetLife Foundation. Support from the NEA provides funding for choreographers in the early stages of their careers. General Operating support was made possible by the New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation. NY premiere commissioned and presented by The Chocolate Factory Theater; additional presentation by Dance Place (Washington, D.C.), Fusebox Festival (Austin, TX), PICA/TBA Festival (Portland, OR), DiverseWorks (Houston, TX), and Red Eye Theater (Minneapolis, MN). This project was also made possible through the generous support of The Jerome Foundation, The Map Fund, InRez at Studio 206, the MN State Arts Board, Museum of Contemporary Art Chicago / MCA Stage, and many generous individuals. One with Others is a sponsored project of Springboard for the Arts, a nonprofit arts service organization.
Photo by Karen Sherman
One with Others trailer from K Sherman on Vimeo.
Performed by: Joanna Furnans, Aaron Mattocks, and Karen Sherman
Lighting Design: Carrie Wood
Sound Design, Scenic Design, Prop Design & Construction: Karen Sherman
Original Sound: Karen Sherman, Jeffrey Wells, Dave Snyder, Joanna Furnans, Karen Fennell
Text: Karen Sherman, Joanna Furnans, Jeffrey Wells, Aaron Mattocks, Claudia La Rocco, Nami Mun, Hope Forstenzer
Additional Voiceovers: Claude Bleton, Hope Forstenzer
Video: Karen Sherman and Andrew Welken
Costumes: Tulle & Dye
Stage Manager: Emily McGillicuddy
Technical Guru: Janet D. Clancy
Special Thanks: Morgan Thorson; the Minneapolis & NYC dance communities; Ben, Natalie, Will, and everyone at AR and Abrons; Nami Yamamoto/Danspace Project, Nastalie Bogira/Pleasure Rebel, Laurie Van Wieren/9×22 Dance Lab, Steve Busa & Miriam Must/Red Eye Theater, Jon Kirchhofer, Mike Rice, Pearl Rea, & Christian Gaylord/Walker Art Center; Sara Coffey, Dave Snyder & Matt Hall /Vermont Performance Lab; Claude Bleton, Hope Forstenzer, Nami Mun, Chris Offutt, Susan Orlean, Max Wirsing, Karen Fennell, Hannah Kramer, Krista Langberg, Aaron Schoenrock, Jeffrey Wells, Claudia La Rocco, David Sheingold, Yolanda Cesta Cursach, Judson Church, Studio 206, The Bogliasco Foundation, MAP Fund, The Jerome Foundation, NEFA, MN State Arts Board, Museum of Contemporary Art Chicago / MCA Stage, and everyone who gave money, support and time to this project. Joanna, Aaron, Carrie, Janet, and Emily for their versatility, humor, smarts, and generosity. MT, whose contributions to everything cannot possibly be measured. And MS who, through teaching me how to write poems, taught me how to make dances; and through teaching me writing, taught me myself.
Karen Sherman has been based in Minneapolis since 2004, when she relocated from NYC. Her work has been presented by P.S. 122, Walker Art Center, Movement Research, Fusebox Festival, PICA/TBA Festival, Chocolate Factory Theater, Studio 303, ODC, The Southern Theater, DiverseWorks, and many others. Her awards as a choreographer, performer, and designer include a 2007 Bessie Award for her performance in Morgan Thorson’s Faker, multiple McKnight Fellowships in Choreography and Dance, a Bush Foundation Fellowship, residencies from the MacDowell Colony, Movement Research, Vermont Performance Lab, and the Bogliasco Foundation in Liguria, Italy. She has worked and collaborated with such fine folks as Morgan Thorson, Sally Silvers, NTUSA, Emily Johnson, Lisa D’Amour, Katie Pearl, Heidi Dorow/The Love Everybody Players, Tanya Gagné, Dan Hurlin, Le Tigre, Jan Bell, and Jimmie James, among many others. Her background in nearly every facet of arts production as a technical director, designer, and stage technician informs each aspect of her work. Her writing, including essays and poetry, has been featured on many live, web and print forums, including The Movement Research Performance Journal, Culture Bodega, The Performance Club, Criticism Exchange, and The Triumph of Poverty: Poems Inspired by the Work of Nicole Eisenman. She builds custom lamps for fun and profit, and dreams of beaches, puppies, and deliverances.
Joanna Furnans, “tall, soft and curvy, with a buzz cut” (Washington Post), is an independent dance maker and performer newly based in Chicago. She has performed and toured most extensively in the works of Minneapolis artists Karen Sherman, Chris Schlichting, Morgan Thorson and Laurie Van Wieren. Joanna is currently developing a new solo work commissioned by the Chicago Moving Company which will premiere this spring and an evening length work entitled these men premiering in the fall of 2015 at Links Hall. Joanna studied at the Laban Centre, London and is a graduate of Sarah Lawrence College, NY.
Aaron Mattocks, “one of the finest young actor-dancers in New York” (New York Times), is a Pennsylvania native, Sarah Lawrence College alumnus, and 2013 New York Dance and Performance (Bessie) Award nominee for Outstanding Performer. He has worked with Annie-B Parson/Paul Lazar/Big Dance Theater since 2009 in The Goats (OtherShore), Supernatural Wife (BAM Next Wave 2011), Comme Toujours Here I Stand (NYLA revival), Man in a Case with Mikhail Baryshnikov, and Alan Smithee Directed This Play: Triple Feature (BAM Next Wave 2014); created roles in premieres by Doug Elkins, David Gordon, Stephen Petronio, Jodi Melnick, Steven Reker, Phantom Limb (dir. Jessica Grindstaff/Erik Sanko), Christopher Williams, Ursula Eagly, Kathy Westwater, and John Heginbotham; appeared as a guest artist with Faye Driscoll, John Kelly, Dean Moss, David Parker, Yoshiko Chuma, and the Bessie Award winning production Then She Fell; and performed in projects by Joanna Furnans, Courtney Krantz, Abigail Levine, and Amanda Villalobos. In addition to his work as a performer, he was commissioned to be a 2013-2014 Context Notes Writer for New York Live Arts, has served as guest editor for Movement Research’s Critical Correspondence, and as guest curator for Sarah Maxfield’s One-Shot. His writing has been published by The Performance Club, Culturebot, Hyperallergic, Critical Correspondence, The Brooklyn Rail, the Baryshnikov Arts Center, Hartford Stage, and the BAM Next Wave Festival. As a producer and arts manager, he has worked with the Mark Morris Dance Group (2002-2010), Tina Satter/Half Straddle, Faye Driscoll, Beth Gill and Big Dance Theater. www.aaronmattocks.com
Carrie Wood is a NYC-based lighting designer. She has designed for a diverse group of artists including Opiyo Okach, Nicole Walcott, Melanie Maar, Luciana Achugar, Reggie Wilson, Walter Dundervill, Sarah Michelson, Michael Lluberes, and more. She recently returned from a first of its kind artist exchange with Opiyo Okach in Nairobi, Kenya. Carrie’s design work has been seen on both international and national stages including BAM Howard Gilman Opera House, Yerba Buena Center for the arts, Walker Art Center, Kasino am Schwarzenbergplatz, and New York Live Arts. Carrie serves as a lighting designer for Star Group Productions at Cipriani – 55 Wall Street and 25 Broadway. Along with her lighting credits she is also the production supervisor of licensing for the Merce Cunningham Trust.
Emily McGillicuddy is a New York based SM, PM, LD, ME, and just about every other abbreviation related to dance and theatrical production. She has stage-managed shows in NYC and across the country with Reggie Wilson/ Fist & Heel, Nai Ni Chen, Liz Gerring, Satoshi Haga, and VIA Dance. Emily is a proud Astorian, graduate of North Carolina School of the Arts, and tours the world with Les Ballets Trockadero de Monte Carlo.
Janet D. Clancy has eaten fire, swum across the East River, straddled the drunken body of David Lee Roth, and escaped the deadly jaws of the Black Mamba (the fastest, most venomous snake on Earth) by fleeing on horseback. Her career path continues to spiral upward, to this show.
“Among the messages transmitted during Karen Sherman’s arresting One With Others was this: ‘Only poets have it worse than dancers.’ In that case, Sherman and [her] fellow performers have it perhaps worst of all, as their brilliant articulation of the human experience was sheer poetry in motion. …One With Others was a triumph on many fronts.” “Her sophisticated use of language is what distinguished this show and practically guarantees a broad appeal beyond the realms of theatre and dance.”
By Stacy Alexander Evans, The Austin Chronicle, Published May 2, 2014
“The show was full of fun, but rarely without a sense of something more pensive below—just the right amount of bitters in the cocktail.”
By Nim Wunnan, Oregon Arts Watch, Published September 26, 2013
“If you are expecting me to change your life, forget about it,” says a voice in a recording in ‘One With Others,’ a smart, witty production by Minneapolis-based artist Karen Sherman that chips away at the pretensions of art. Wait, chips away? Scratch that. ‘One With Others’ doesn’t chip, it claws huge backhoe craters out of all the hooey slung around about the transformative powers, purity and superiority of art — and artists.”
By Sarah Kaufman, The Washington Post, Published April 21, 2013