Scott Heron + Anne Iobst, Movement Research at Judson Church February 26, 1996

Lucy Sexton (The Factress) formed the dance performance duo DANCENOISE with Anne Iobst in 1983. Charles Atlas came to a show of theirs in 1986 and the three have been friends and collaborators ever since. Sexton has worked as a producer on two of Atlas’s films: The Legend of Leigh Bowery and TURNING with Antony and the Johnsons. She is also the Director of the NY Dance and Performance Awards, The Bessies.

DANCENOISE is Anne Iobst and Lucy Sexton. They began making dance-based performance art in 1983, performing in many New York nightclubs and theaters including WOW Café, the Pyramid, 8BC, Performance Space 122, Franklin Furnace, and the Kitchen. They hosted a weekly cabaret for many years at King Tut’s Wah Wah Hut in the East Village. DANCENOISE went on to perform at Lincoln Center, tour and teach nationally and internationally, and win a New York Dance and Theater Bessie Award.  Touring highlights include the Phenomenon Festival in Jerusalem, Israel; Queer Up North at the Green Room in Manchester, UK;  Vienna Fest Wochen in Vienna; Mayfest in Glasgow, Scotland; New York Live in Osaka, Japan; and numerous performances in squatted houses across Europe in the early 80s.

Anne Iobst also performs her own choreography as the Naked Lady, recently appearing in Yvonne Meier’s The Shining.

Scott Heron (performer) has been dancing and making dances for over 30 years. He started at Colorado College and then stumbled into Deborah Hay in Austin. He has studied and performed with her extensively over the years and is featured in both of her books. In New York from the mid-80s to the turn of the century, he was a founding member of Circus Amok and a regular on the downtown dance, improv and performance scene, working with Jennifer Monson, Yvonne Meier, Sarah East Johnson, Linda Austin, Sarah Schulman, Sally Silvers, and countless others. His own work has been produced by PS 122 many times and also at the Kitchen, Dixon Place and DTW. In 2003 hereceived a Bessie Award. For 10 years he has had an ongoing collaboration with HIJACK the Minneapolis duo Kristin Van Loon and Arwen Wilder. They have toured up and down the Mississipi River and in NYC, Colorado and Russia. He just completed a sporadic 2-year world tour of “Like me more like me” a duet made in collaboration with Brussels-based Thomas Hauert/Zoo. For the past 11 years he has been based in New Orleans, where he makes dances, gardens and hosts occasional shows at the Sidearm Gallery, a little theater in his house. More info and contact: www.scottheron.org

“…The work was screamingly funny and demented, but as I thought more about the piece, it also became an object lesson in looking.”
By Lightsey Darst, MNARTISTS, Published June 24, 2013

Adrienne Truscott: Too Freedom from Marin Media Lab on Vimeo.

choreography by Adrienne Truscott
performed by Neal Medlyn, Gillian Walsh, Laura Sheedy, Mickey Mahar and Adrienne Truscott.
sound by Neal Medlyn
lighting by Carrie Wood
costumes by Larry Krone
set by Adrienne Truscott with Larry Krone
rigging Janet Clancy and Eric Dyer
translator Pailo Heitz

Adrienne Truscott (choreographer/performer) is a choreographer, writer, performer and comedian. Her evening length dances have been presented at PS122, The Kitchen, Danspace, Movement Research at Judson Church, New York Live Arts (formerly Dance Theater Workshop) and Project Arts Center (Dublin). …Too Freedom… was originally commissioned and presented by The Kitchen in 2012 and it’s aim as a touring piece is to research and engage local performers and laborers. Her most recent solo show Adrienne Truscott’s Asking For It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else won the Fosters’ Panel Prize and the Malcolm Hardee Award at the Edinburgh Fringe Festival 2013 and looks forward to seasons at The Melbourne International Comedy Festival and The Soho Theater (London) in Spring 2014. She is one half of the infamous and award- winning Wau Wau Sisters who have appeared at and/or survived death threats at the Brisbane, Edinburgh, Adelaide, Melbourne, Brighton and Perth Fringe Festivals, as well as The Sydney Opera House. Truscott has worked with Sarah Michelson, David Neumann and Deborah Hay, among others and taught at Wesleyan University Dance Department and the Sarah Lawrence College Theater and Dance Departments. For better or worse, eventually and always, she finds humor where perhaps she shouldn’t, while straddling as many genres as possible. She likes hats and enjoys wearing many of them. She thanks everyone for their work on this piece.

Neal Medlyn (performer) is primarily a performance artist and is also the rapper Champagne Jerry. He also moves his body around in a manner that the New York Times called “untrained” and has done so with Ms. Truscott since 2005. They once drank a cocktail named “the Bessie” together. www.champagnejerry.com  www.nealmedlyn.com

Gillian Wash (performer) is a dance artist from Brooklyn, NY. She has recently presented work at Festival TBD: Emergency Glitter at Abrons Arts Center and is an ISSUE project room 2014 artist-in-residence. She also has the pleasure of performing with other artists including luciana achugar, Laurie Berg and the one-and-only Adrienne Truscott.

Laura Sheedy (perfoemer) has had the privilege and delight of performing and/or directing at Melbourne Comedy Festival, Edinburgh Fringe, Melbourne Fringe, Adelaide Fringe, The World Theatre Festival, The Sydney Opera House, New York Fringe, Joes Pub, Union Pool, PS 122, The Kitchen, Park Avenue Armory and the Lincoln Centre. And with Scam and A Strongman, The Other Tongue, Circus Oz, Polyglot, Our Hit Parade, The Wau Wau Sisters, Miss Behave, Captain Frodo, Amy G, Ann Hamilton, Barney O’Hanlon and Adrienne Truscott. Most recently, Laura played Titania in South Slope Shakespeare’s production of A Midsummer Night’s Dream and created a new work for The Princeton Sound Kitchen with her company Nothing To See Here.

Mickey Mahar (performer) is a dancer from Milwaukee. He graduated from Vassar College with a degree in Women’s Studies and has since had the pleasure of working with Gillian Walsh, Miguel Gutierrez and Ryan McNamara.

Artist/Entertainer Larry Krone (The Hat) also designs costumes & sets! In 2010, Larry started House of Larréon, creating custom gowns and stage costumes for performers including Bridget Everett, Adrienne Truscott, Neal Medlyn, Jenn Harris, and Kathleen Hanna among others. Recent credits include set and costumes for Adrienne Truscott’s …Too Freedom… (The Kitchen 2012, American Realness festival 2014), costumes for Neal Medlyn’s King (The Kitchen 2013, American Realness festival 2014) and Wicked Clown Love (The Kitchen 2012, American Realness festival 2013), a featured costume in Adrienne Truscott’s ha: a solo (Danspace Project 2011), and contributions to the looks of Our Hit Parade hosts and various performers (Joe’s Pub 2010-2012). Look Book, an artist’s book of Larry’s costume and fashion work is due out in 2014. www.larrykrone.com

Carrie Wood (Lighting Designer) is Too happy to be joining Adrienne and team! She has designed for a diverse group of artists including Melanie Maar, Karen Sherman, Luciana Achugar, Daria Fain, Reggie Wilson, Walter Dundervill, Sarah Michelson, Michael Lluberes, and many more. In 2007 she won New York Musical Theater Festival’s award for best lighting design. In 2009 she joined Merce Cunningham Dance Company as the assistant production manager for their final Legacy Tour. She then production managed Merce Cunningham’s final performance at the Park Avenue Armory. 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.

“…the work’s generosity and nimbleness lies in Ms. Truscott’s ability to keep all these elements on equal footing…It’s simple and beautiful. It’s just right.”
By Claudia La Rocco, The New York Times, Published December 10, 2012

“A multilayered meditation on social (inter)action…Too Freedom . . . exists in a liminal space, a space between the theater of dance and the theater of living, so much so that the performance renders these distinctions irrelevant.”
By Lauren Bakst, BOMB Magazine