conceived and designed by jumatatu m. poe
performed by jumatatu m. poe, Samantha Speis
video captured by Tayarisha Poe
lighting designed by Asami Morita
production and management by Marýa Wethers

jumatatu m. poe I am a choreographer, performer, and educator based between Philadelphia and New York City who grew up dancing around the living room and at parties with my siblings and cousins. My early exposure to concert dance was through African dance and capoeira performances on California college campuses, but I began formal dance training in college with Umfundalai, Kariamu Welsh’s contemporary African dance technique. My work continues to be influenced by various sources, including my foundations in those living rooms and parties, my early technical training in contemporary African dance, my continued study of contemporary dance and performance, and my recent sociological research of and technical training in J-setting with Donte Beacham. http://jumatatu.org

Samantha Speis is a movement artist based in New York City. She has worked with Gesel Mason, The Dance Exchange, Jumatatu Poe, Deborah Hay (as part of the Sweet Day curated by Ralph Lemon at the MoMA), Marjani Forte, Liz Lerman, and is Associate Artistic Director of Urban Bush Women. She is currently a member of The Skeleton Architecture, a collective of black womyn and gender non-conforming artists who use the practice of improvisation to create, organize, advocate, gather, play and challenge. Speis was the 2012 recipient of the Alvin Ailey New Directions Choreography Lab and recently was awarded a Bessie for Outstanding Performer.

Tayarisha Poe creates complex portraits of young people of color in her multisensory work that blends film, photography, and prose across media platforms. “My stories seek to show young people of color that they can choose how to define themselves, and they can shape their world,” she says. Poe’s forthcoming debut feature film, Selah and the Spades, began as an online series of photographs, short films, prose, and web design, telling the story of a charismatic black teenager in a fictional Pennsylvania town. The project marked Poe as one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2015 and was recently further developed at the Sundance Screenwriter’s Lab. Poe is a 2016 Knight Foundation Sundance Fellow and has been awarded grants from the Cinereach Foundation and Leeway Foundation.

Asami Morita is a lighting designer who grew up back stage and later made her way onstage as a performer. Returning to her back stage roots, she has been on tour as a lighting supervisor with Kota Yamazaki, Yasuko Yokoshi, Kashu-Juku Noh Theater among others before becoming Technical Director at Gibney Dance: Agnes Varis Performing Arts Center. Her lighting design includes but not limited to shows by Mike Albo, Mayfield Brooks, Dylan Crossman, Hilary Easton, Jack Ferver, Gina Gibney, jumatatu m. poe, Jill Sigman, Makiko Tamura, Caleb Teicher, Steeledance, Gwen Welliver and Nami Yamamoto.

Marýa Wethers is an Independent Creative Producer and Curator based in NYC since 1997. As a Curator she conceived and created the three-week performance series “Gathering Place: Black Queer Land(ing)” at Gibney Dance and curated for the Queer NY International Arts Festival (2016 & 2015) and Out of Space @ BRIC Studio for Danspace Project (2003-2007). Her writing includes Configurations in Motion: Curating and Communities of Color Symposium publications, organized by Thomas DeFrantz at Duke University (2016 & 2015); UnCHARTed Legacies: women of color in post-modern dance in the 25th Anniversary Movement Research Performance Journal #27/28 (2004). Marýa is also a Bessie Award winning performer (Outstanding Performance with Skeleton Architecture, 2017).

Thank you to the performing and design collaborators (including Rodrigo Jerônimo who performed in an earlier iteration), to BAAD!, and to American Realness for helping to continue the development of this work. I remain in deep gratitude to Black queer youth (younger than me), peers, elders, and ancestors who hold my hand while I practice life alongside others. I’m thankful for the SoundCloud documentation of Fred Moten’s Blackness and Poetry. While listening to the post-lecture discussion period, I really began to become invested in this idea of human beings as earth. As my work continues to deeply feel and tenderly caress Black human beings, I am particularly interested to experience where this positioning of Black humans as earth will lead this work in the years to come. It’s scary to expose feelings and reflections and experimentations that are still so so very new, but I am trying to remain with the mantra that Samantha gifted to me 6 years – and it has stayed with me since: default to trust. How beautiful and dangerous… Thank you to the folks who came to experience this work with us, and I look forward to where this work will lead me and itself in the future as I fulfill my desire and responsibility with my work to go where the Black people be.

“While descriptively rooted in the surface-world, my experience of the artists was of a sacred communion of body and spirit. Here we were finally inhabiting the distant horizon, joining both heaven and earth seated at the feet of red eyed, heady guardians. The ripples through the bodies were seismic. As the three collapsed slowly to the floor, the settling occurred through a series of ruptures, earthquakes and aftershocks.”
– Maura Donohue, Culturebot

“There’s something to be said for the performers’ proximity to their audience here: every dimple on their bodies is visible. And there’s beauty in their sheer nakedness—physical and emotional.”
– Erica Getto, The Brooklyn Rail

Artistic Direction and Choreography: Daina Ashbee
Performer: Areli Moran Mayoral
Lighting Design: Daina Ashbee and Areli Moran
Music: Jean-Francois Blouin

Daina Ashbee is a Centre de Création O Vertigo – CCOV associate artist
Production: Daina Ashbee
Delegate producer: Centre de Création O Vertigo – CCOV
Production Director: André Houle – Centre de Création O Vertigo – CCOV
Administration: Valerie Buddle – Centre de Création O Vertigo – CCOV
Communication: Christel Durand – Centre de Création O Vertigo – CCOV
Coordination: Gaétan Paré – Centre de Création O Vertigo – CCOV

Daina Ashbee is supported by the Council for Arts and Letters of Quebec, the Canada Council for the Arts.

Daina Ashbee is an artist, performer and choreographer based in Montreal, known for her radical works at the edge of dance and performance, which intelligently approach such complex subjects and taboos as female sexuality, Métis identity, and climate change. For the choreographer, creation is an instinctive and quasi-spiritual quest, which embraces her relationship with her ancestors, the universe and the entire cosmos. At the young age of 26, she had already won two awards for her choreographies. She was a double prizewinner at the Prix de la danse de Montréal, winning both the Prix du CALQ for Best Choreography of 2015-2016 for her choreographic installation When the Ice Melts, Will We Drink the Water?, and the Prix Découverte de la danse, presented by Agora de la danse and Tangente, for Unrelated. Also, Daina was named by the prestigious German Tanz magazine as one of 30 promising artists for the year 2017 and named one of 25 to watch by the American publication, Dance Magazine in 2018.

Recognized as one of the most promising young choreographers of the next generation since 2015, her work has been presented 67 times in 13 countries and 23 cities. Her work being presented in some of the most prestigious festivals (The Venice Biennale, Oktoberdans, Les Rencontre Chorégraphiques de Seine Saint Denis, and the Munich Dance Biennale) and on the stages of the world (Canada, France, Spain, Belgium, Norway, Finland, Greenland, Germany, Italy, Switzerland, and Mexico).

Daina is the artist-in-residence at Agora de la danse in Montreal until 2020 and the associate artist of Centre de Création O Vertigo – CCOV. In 2018, she returned to the Venice Biennale to teach at the Biennale College, whilst creating a group-piece for 15 students. She continues to tour in Norway, Belgium, Italy, Czech Republic, Canada and the United States, meanwhile creating a new group piece and a solo set to premiere in 2020 and 2021.

Areli Moran (performer) was born in 1985 in Guadalajara, Mexico. As a stage artist and cultural manager, she is currently based in Monterrey (Mexico) and transitioning to Berlin (Germany). Her academic career led her to attend the Royal Academy of Dancing, the Escuela Superior de Musica and Danza de Monterrey, and the Modus Operandi contemporary dance program in Vancouver, Canada.

In 2015 she founded her company Expectante in Monterrey, Mexico, focuses in her creations as well production and management of workshops and performances tours of other national and international artist. Her creations involve diverse collaborations with artist from Canada, Mexico and Berlin, places where her own work has been presented. Her artistic work address and question gender roles and the social standards of behavior. Her curiosity and constant desire of new knowledge push her experience and develop her self in the diverse areas of photography, video, graphic design, technical director and tour director. In México she has being artistic director of festivals and cultural events, looking always to push the dance community to be open for new artistic views and ways of work.

In 2017 she founded the first independent studio for contemporary dance and multidisciplinary work Espacio Expectante, a multifunctional platform and residency space focuses in the research, encounter, dialog and creation for the contemporary art scene.

“Provocative, boundary-busting dancer-choreographer Daina Ashbee has been named one of 25 to Watch” Dance Magazine.»
– Janet Smith, Dance Magazine

“Creating dance as a medium for eliminating taboos has been cathartic for radical, riveting Montreal-based dancer and choreographer Daina Ashbee.”
– Philip Szporer, Dance Magazine

« Daina Ashbee creates brutal but evocative dance work […] She’s really someone to watch […] »
– Jeannette Kelly, CBC

Juliana May "Folk Incest" Research in 2018 from MANCC on Vimeo.

Dance in Process: Juliana F. May from Gibney on Vimeo.

Choreographed, Written, and Directed: Juliana F. May
Songs and Lyrics: Juliana F. May with text contributions by Leslie Cuyjet, Tess Dworman, Lucy Kaminsky, Molly Poerstel, Rebecca Wender
Performers: Leslie Cuyjet, Tess Dworman, Lucy Kaminsky, Molly Poerstel, and Rebecca Wender
Sound Design: Tatyana Tenenbaum
Lighting Design: Madeline Best
Costume Styling: Mariana Valencia
Dramaturgical Support: Ita Segev

A Guggenheim and NYFA Fellow, Juliana F. May (choreographer) has created nine works since 2002, including seven evening-length pieces with commissions from Dance Theater Workshop, New York Live Arts, The Chocolate Factory Theater, Barnard College, The New School and The American Realness Festival. May has been awarded grants and residencies through The Map Fund, The Jerome foundation, Lower Manhattan Cultural Council and Gibney Dance In Process. May is the Artistic Advisor for New York Live Arts’ Fresh Tracks Residency Program as well as teaching composition at Sarah Lawrence College. May holds a BA in Dance and Art History from Oberlin College and an MFA in choreography from University of Wisconsin/Milwaukee.

Madeline Best (lighting designer) designs lighting and is the Director of Production at The Chocolate Factory Theater. Best graduated from Bennington College, grew up in Durham NC and currently lives in Long Island City, Queens. Recent design projects include work with the artists Paulina Olowska, Andrea Kleine, Anna Azrieli, Ursula Eagly, Heather Kravas, Katie Workum, Aki Sasamoto, Milka Djordjevich, Keely Garfield, Sophia Cleary and Neal Medlyn, Yve Laris Cohen. This fall includes projects with luciana achugar, Big Dance Theater, and Moriah Evans. Thanks to Jon, Davey, and Orson for all your support.

Leslie Cuyjet is a dance artist in and performer. She has collaborated with Kim Brandt, Yanira Castro/a canary torsi, Jane Comfort, David Gordon, Niall Noel Jones, Cynthia Oliver, Will Rawls, Julian Barnett, Stephanie Acosta, Vanessa Walters, NARCISSISTER, Sean Donovan and Sebastián Calderón Bentin, Emily Wexler, David Thomson, Mark Dendy, The A.O. Movement Collective, and now Juliana F. May. She has appeared in performances by Anohni, Meredith Monk, and Solange. Her independent work aims to unpack this personal archive that includes over a decade of performing across postmodern and experimental forms while black, using writing, video, and choreography. Cuyjet has been presented in New York by La MaMa (La MaMa Moves! Festival/The Current Sessions), Gibney Dance (DoublePlus), Center for Performance Research (Fall Movement), Movement Research (Fall Festival, Judson Church), AUNTS (Realness, Populous), and Danspace Draftworks. Leslie is a 2017-18 Movement Research Artist-in-Residence.

Tess Dworman (performer) is a Brooklyn-based choreographer and performer originally from Oak Park, IL. She studied at the Laban Centre in London and graduated from the University of Illinois at Urbana-Champaign with a BFA in Dance. In New York, her work has been presented by AUNTS, Center for Performance Research, Movement Research at the Judson Church, New York Live Arts, and PS122. She has been an artist in residence at Links Hall, Center for Performance Research, Gibney, PS122, LMCC, and Snug Harbor. Dworman has an ongoing teaching practice and collaboration with Laurel Atwell that operates under the moniker WellMan. Within this practice, Atwell and Dworman offer classes in qi gong and meditation as a means of integrating wellness with artistry. As a performer, Dworman has had the pleasure of performing in the work of niv Acosta, Laurel Atwell, Strauss Bourque-LaFrance, Kim Brandt, Yanira Castro, Moriah Evans, Devynn Emory, Julie Mayo, Sam Kim, Tere O’Connor, Marissa Perel, and Mariana Valencia.

Lucy Kaminsky (performer) is an actor and performer from Brooklyn. She has developed and performed several works with 600 Highwaymen (Abrons Art Center, The Public, Park Ave Armory, Sundance Theater Lab at MASS Moca, University Settlement). Upcoming work: three plays about labor, money and debt by McFeeley Sam Goodman, directed by Sarah Hughes, and the series All Long True American Stories by Nellie Tinder. Film & video credits include MGMT music video “When you Die”, The Law of Averages, Heads or Tails, Me and you and her and them, Please be Normal (2014 Cannes selection), Go Down Death (Indiewire top undistributed films of 2013), Chained for Life (2018 BAM cinemafest). Upcoming: The Plagiarists (2019) and Skosh (2019), a film she co-wrote with Ita Segev. Lucy graduated from Bard College with a BA in Environmental Studies.

Molly Poerstel (performer) is a dance artist who has collaborated with: Jeanine Durning (half URGE 2004, Out of the Kennel and into a home 2006, Ex-Memory:waywewere 2009, To: Being 2015), Roseanne Spradlin (Beginning of Something, Chocolate Factory, 2010), Ivy Baldwin (Ambient Cowboy, 2012),Susan Rethorst (208 East Broadway, DTW 2007), David Dorfman Dance Company (05-09), Larissa Velez-Jackson (Loving Overkill via Satellite 2009), Hilary Clark (Jeliza-Rose is with Us 2008). This is her first collaboration with Juliana May. Poerstel has taught at SUNY Purchase Dance Conservatory, the Dalton School, The Nanyang Fine Arts Academy in Singapore and The Eugene Lang College of Liberal Arts, The New School. She and was a 2015 Movement Research Artist-in-Residence and a 2018 BAX Parent Space Grant Recipient. Her choreographic works include: Are we a Fossil, and of facings (2016), Stolen Grounds (2014), The Highlands (2014), Hungry Ghost (2013) and Do Beast (2012).

Sarah A.O. Rosner (Managing Director) hustles maximalism. They are a multimedia performance maker (the A.O. Movement Collective), arts businessperson (A.O. PRO(+ductions)), and postmodern pornographer (AORTA films) making work out of Brooklyn, NY. They currently serve as a Managing Consultant for Tere O’Connor Dance and Company SBB / Stefanie Batten Bland and the Managing Director for Juliana May, as well as offering freelance arts business consulting for NYC’s makers. They have been featured as a speaker, educator, and panelist by Dance NYC, Kickstarter, Adobe, Gibney Dance, Dance Theater Workshop/New York Live Arts, CLASS CLASS CLASS, and Dance New Amsterdam, as well as Marymount Manhattan, Bard and Purchase Colleges. www.theAOMC.org // www.AORTAfilms.com

Ita Segev (Dramaturgical Support) makes performance, writes, performs/acts and does advocacy & community building work, mainly around the intersection of her transfeminine and anti-Zionist Israeli identities. Ita is a 2018/2019 Brooklyn Art Exchange Artist in Residence, a Fall 2017 BAX space grantee, a spring 2017 Chez Bushwick AIR and a 2016 NYLA Fresh tracks AIR with collaborator Georgia Wall. Her current evening length show in the making, titled ‘Knot in My Name’ is also supported by New York Theater Workshops Adelphi summer residency as well as Women & Performance, a Journal of feminist theory.

Tatyana Tenenbaum (Sound Design) is a choreographer and composer whose work explores the phenomenal space of the singing body. She is a 2017-18 Movement Research Artist-in-Residence where she is rotating faculty for “The Sounding Body” series. Her work has been presented by The Chocolate Factory Theater, Roulette Intermedium, Danspace Project, Brooklyn Studios for Dance and The Kitchen, among others. She has performed and collaborated with Yoshiko Chuma & the School of Hard Knocks, Daria Fain & Robert Kocik, Jennifer Monson, Levi Gonzalez, Emily Johnson/CATALYST, Hadar Ahuvia, and numerous peers. Upcoming visions are unfolding alongside choreographer Jasmine Hearn this Spring 2019, stay tuned. Thank you to Juliana for inviting me into your creative process.

Mariana Valencia (costume consultant) is a dance artist, in New York, she has received residencies from AUNTS, New York Live Arts, Chez Bushwick, ISSUE Project Room and Brooklyn Arts Eachange. Projects in costume direction include works by Geo Wyeth, Vanessa Anspaugh, Daria Fain, and Lauren Bakst. As a performer, Valencia has collaborated with Jules Gimbrone, Elizabeth Orr, Kate Brandt, AK Burns, robbinschilds, Fia Backstrom, Kim Brandt, Em Rooney and MPA. Valencia is a Bessie Award recipient for Outstanding “Breakthrough” Choreographer (2018), a Foundation for Contemporary Arts Award to Artists grant recipient (2018), a Jerome Travel and Study Grant fellow (2014-15) and a Movement Research GPS/Global Practice Sharing artist (2016/17). She is a founding member of the No Total reading group (2012-15) and a past co-editor of Movement Research’s Critical Correspondence (2016-17). She holds a BA from Hampshire College in Amherst, Massachusetts and is a native of Chicago.

Rebecca Wender (performer) is a dancer/performer based in Brooklyn. Her recent work includes many projects with luciana achugar, Antonio Ramos, and RoseAnne Spradlin. She has also worked with Rebecca Brooks, Martha Clarke, Juliette Mapp, Jennifer Monson, Sarah White-Ayon, and many others and was a featured dancer in John Turturro’s film Romance and Cigarettes. She is the former Managing Director of Movement Research and former Managing Editor of the Movement Research Performance Journal. Rebecca is also a massage therapist (www.parkplacemassage.com).

“Juliana May’s performances negotiate the complexities of trauma. Within the choreographies themselves, however, May often decentralizes trauma and catharsis instead of overtly addressing them; aggression simmers underneath the dance, occasionally surfacing before giving way to the work’s other occupations.”
– Rennie McDougall, The Brooklyn Rail

“It feels important to me to build structures and nonlinear sequences that confuse concrete events and move away from the idea of proof or evidence — to give more space to the unseeable and unspeakable.”
– Juliana May, The New York Times

SOFTLAMP.autonomies TRAILER from Malik Nashad Sharpe on Vimeo.

Co-creators and performers: Ellen Furey, Malik Nashad Sharpe
Dramaturgy/outside eye: Dana Michel
Lights: Paul Chambers

Ellen Furey is a choreographer based in Montreal working in experimental and contemporary dance forms. Since 2012, she’s mostly involved in collaborative, discursive processes that insist on a mess of subjectivities. Her work uses potentials of dance virtuosities and performer type showmanship as material for living, oblique rebellion, and debate, entangled with heavy ambiguity. She works with, for, and alongside independent artists including Dana Michel, Malik Nashad Sharpe, Andrew Tay, Christopher Willes, and Simon Portigal and has performed in choreographies by Daniel Léveillé Danse, Frédérick Gravel, Marten Spangberg (SE), Tina Tarpgaard (DE), Sasha Kleinplatz and Clara Furey. Ellen is a 2014 recipient of a DanceWeb scholarship, ImpulsTanz, Vienna, was a part of mobile academy-Berlin’s Copycat Academy 2015, and is currently a part-time, independent student at Concordia University. Her work has been presented in France, Canada, and the UK.

Malik Nashad Sharpe (b.1992, New York) is an artist working with choreographic propositions, dance textures, and systems of meaning production. Their performances extend the possibilities of aesthetics, affect, and allostatic load with the belief that the advent of performance is critical to claims for freedom and futurity. Their works utilise dance and choreography to create conditions, ideologies, rituals, and practices that unfurl and call forth ulterior desires and potentials for another world for the othered body. Looking at and beyond strictures of essentialism, identity, and humanity, their works often value the undercurrent and the subterranean, maintaining an ontological commitment to the autonomies of the racialised and gendered body.

They regularly make work and perform under their stage alias, marikiscrycrycry, a long term choreographic engagement with the alterity, ambiguity, and an emotional aesthetics of blackness and queerness that relies on dancing and live action. Their work has been presented internationally and across the U.K. including at venues like Hackney Showroom, Marlborough Theatre, The Yard Theatre, Theatre La Chapelle, Menagerie de Verre, Theatre in the Mill, Quarterhouse, Tate Britain, South London Gallery, Gate Theatre/English National Opera, National Theatre, CCA Glasgow, amongst many others. They have taught dance and choreographic practice at institutions like Glasgow School of Art, Royal Conservatoire of Scotland, School of New Dance Development, Goldsmiths, Tate Modern, London School of Contenporary Dance and more. They are currently artist-in-residence at Tate Britain, an Associate Artist at Hackney Showroom, and an artist bursary scheme recipient at ArtsAdmin. They make work from their base in South London, UK.

Royal Osiris Karaoke Ensemble [ROKE] is a musical priesthood that explores the metaphysics and mythologies of love, desire, and connectivity in the the VHS and Internet Ages. Formed by artists Tei Blow and Sean McElroy and joined in 2016 by director/designer Eben Hoffer, ROKE generates contemporary ritual out of found media, synthesizing video, meme, party, opera, theater, social practice, and installation.

John Gasper is a theatermaker, musician, and sound designer. He has performed and made sounds with St Fortune, Advanced Beginner Group, 7 Daughters of Eve Thtr & Perf Co, New Saloon, Trusty Sidekick Theater Company, Bentertainment, Designated Movement Company, Major Magics, Czech Neck, Tender, and beloved others. His far-in new age project John Dwayne can be found at realjohndwayne.bandcamp.com. MFA: Performance and Interactive Media Arts, Brooklyn College.

Shea Leavis is a director, performer, and musician. Most recently he was the stage manager/assistant director for Joe Diebes’s opera oyster which premiered this year at Roulette Intermedium (Phil Soltanoff). Recent directing credits include Edward Albee’s Fragments (Skidmore JKB Blackbox), the original piece Dalí Project (Skidmore JKB Studio), and Charles L. Mee’s Life is a Dream (Tang Teaching Museum). At Skidmore College he worked as assistant director on Who Will Carry the Word (Rebecca Marzalek-Kelly), and performed in Peter Handke’s Kaspar (Kaspar), The Last Days of Judas Iscariot (Satan), and Blood Wedding (Lorca). Shea has been a summer technical assistant at Mass Live Arts and the Bushwick Starr, and graduated from Skidmore College with a BS in Theater.

Hyung Seok Jeon is a South Korean multi-disciplinary theatre artist based in NYC. 2018 he created and performed a solo piece ‘A Held Posture’ at Theatre Lab, a meditation on generational loss in relation to sensation of sinking into deep water. Recently he projection designed David Neumann on his upcoming piece ‘Distances Smaller Than This Are Not Confirmed’. He is a recipient of 2015 Fulbright graduate study award and received MFA in Theatre at Sarah Lawrence College.

Annie-B Parson co-founded the OBIE/Bessie award-winning Big Dance Theater in 1991 with Molly Hickok and Paul Lazar. Big Dance most recently appeared at BAM, Berlin and The Old Vic in London. Outside of her work with Big Dance Theater, Parson has made dances for the work of: David Byrne, David Bowie, St. Vincent, Mikhail Baryshnikov, Anne Carson, Esperanza Spalding,  The Martha Graham Dance Co., Laurie Anderson, Salt ‘n Pepa, Jonathan Demme, Ivo van Hove, Sarah Ruhl, Wendy Whelan, Lucas Hnath, Suzan-Lori Parks, David Lang, Mark Dion, and Nico Muhly. Her most recent choreography/staging for David Byrne’s American Utopia, is currently on world tour. Parson’s choreography has appeared at The National Theatre, The King’s Cross Theater, Sadler’s Wells and The Royal Ballet/Lynberry: London, The Steven Colbert Show, The Jimmy Kimmel Show, at Signature Theater, The Public Theater, New York Theatre Workshop, Soho Rep and many other theaters. She has made dance for opera, string quartets, symphony orchestras, museums, objects, 1,000 amateur singers, and now for 4 men who claim to embody the form of Ancient Egyptian gods of the afterlife.

Erica Sweany: Broadway: Honeymoon in Vegas, M. Butterfly  NY: How To Transcend a Happy Marriage (Lincoln Center Theater), Hadestown (NYTW)  Tours: Cats, The Who’s Tommy  Regional: Chicago (Flat Rock) My Paris (Long Wharf), Cabaret (Arena Stage) Film:  Edward Norton’s Motherless Brooklyn, It Had to be You (avail iTunes/Amazon), How the Light Gets In TV:  “The Blacklist”, “Eye Candy”, “Late Night w/ David Letterman”, “I Love You, But I Lied”, “Law & Order: SVU”  Other:  Red Dead Redemption 2,  On the Town with the Boston Pops, and varied design commissions.

“Equal parts heartbreaking and hilarious”
– Hyperallergic

“A conceptually heavy, extraordinarily reflexive, and ultimately mind-expanding piece that questions our contemporary understandings of intimacy and love through our use of the Internet as both a means of communication and a means of reflexivity.”
– Howlround