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Posts Tagged ‘Dito van Reigersberg’

Fringe at 20 Profile: Dito van Reigersberg

Posted September 23rd, 2016
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Dito Van Reigersberg in Zero Cost House (photo by JJ Tiziou)

Name: Dito van Reigersberg, sometimes Martha Graham Cracker

Type of Artist: Actor/Cabaret Performer

CompanyPig Iron Theatre Company, Co-Founder

This is a partial list of Fringe shows I’ve participated in:
Cafeteria, Pig Iron, 1997 (First Fringe!) – Charlotte the cafeteria lady
The Lorca Cycle, Pig Iron, 1999 – Federico
Shut Eye, Pig Iron, 2001 – Clark
Hell Meets Henry Halfway, Pig Iron, 2004 – Henry
Isabella, Pig Iron, 2007 – Angelo
Welcome to Yuba City, Pig Iron, 2009 – Tom White/Joaquin
Takes, Nichole Canuso Dance Company, 2010
Oedipus at FDR Park, 2010, – Messenger
Twelfth Night or What You Will, Pig Iron, 2011 – Orsino
Zero Cost House, Pig Iron, 2012 – Present Okada
Pay Up, Pig Iron, 2013 – Scene 21

Fringe show I’m participating in for 2016: I’m mostly watching this year but then closing the festival with a Martha Graham Cracker show at FringeArts on the 24th of September, with some special guests I’m very excited about. I’ll also be doing sprints to prepare for scaling the steep seating risers of the FringeArts theatre. I have lovingly dubbed those FringeArts stairs “the K2 of alternative theatre.”

First Fringe I attended and highlight: I moved to Philly just in time for the first Festival in 1997.  During that first Fringe I remember meeting the incredible members of Headlong Dance Theater and New Paradise Labs, who by now have become lifelong friends (I think Whit McLaughlin let us Pig Ironers watch a dress rehearsal of Gold Russian Finger Love, a sort of James Bond fantasia which was deliciously odd and unforgettably beautiful); I guess that was the moment I realized that, as the Talking Heads might say, “this must be the place.”

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from Cafeteria (photo by JJ Tiziou)

First Fringe I participated in: So when we arrived in Philly in 1997, we had rehearsed all summer at Swarthmore College to make a wordless piece about the American life-cycle called Cafeteria. The piece is set in junior high, a corporate and then a retirement home cafeteria, and all the dramatic action in the show is told in movement. We had no audience in Philly, no sense of what kind of reach the Fringe might have, and also we had this new, weird, hard-to-categorize piece to try to sell. Thankfully we were veterans of the Edinburgh Fringe, so we shamelessly flyered for the show all over town like mad people and hoped for the best.

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Homegrown Art Is in Bloom: Spring at FringeArts, Pt.1

Posted March 24th, 2016

Ah, spring has sprung once again! Or is about to. Or already did. Oh, you didn’t get the memo? It’s winter again! Wait, never mind, it is spring. But maybe don’t get too comfortable in those jorts. Even though we can’t seem to rely on nature to be on schedule these days, you can rest assured that FringeArts will be. We’ve got an incredible spring season packed with some of Philadelphia’s most lauded, boundary-pushing artists, as well as notable guests from out of town. Here’s what’s going down at our waterfront headquarters from April to June.

Coming April 9 is a show for all the talkers, drunk debaters, sidewalk weather reporters, water cooler pundits, backseat philosophers, pseudo intellectuals, haters, hype-men, chatter boxes, gossips, and even the silent types. The Society of Civil Discourse, a co-production between Team Sunshine Performance Corp and The Philly Pigeon/Jacob Winterstein, is looking for new members and thinks you’d be a perfect candidate, whoever you are (info/tickets).

SCD-183The evening plays out in three phases. During phase one the proceedings and rules of participation are laid out and all attendees are inducted into the Society. Phase two asks Society members to voice their opinions at three designated stations: a “hater” station, an “appreciation” station, and a “mini-debate” station. Once everyone’s oratorical muscles are warmed up we enter phase three. Participants become audience for The Great Debate, where two teams—made up of professionals and a few recruited audience members—debate on an audience-selected topic. If you’re someone who enjoys passionately debating pointless topics you don’t understand or care about, you’re going to want to grab a ticket quick for this “celebration of truth-stretchers, fabricators and pseudo-intellectuals in all their misinformed glory,” as a writer for City Paper so aptly summed it up.

luisgaray.hotglue.meNext up is Maneries, our first international offering of the season from Colombian-born Argentina-based choreographer Luis Garay. A solo created specifically for and in collaboration with dancer Florencia Vecino, the show positions the body as a cipher of linguistic material. Working with iconic symbols, Vecino takes on the difficult task of embodying a universal catalogue of gestures, pictures, poses, and sculptures, utilizing her body to represent all bodies, a vessel for all manner of possible meanings, perceptions, and experiences. Garay equates her performance, the manner in which she mixes these images live, to that of a DJ, asserting, “The structure of the piece is very rigid, but at the same time it allows [the performance] to be changed every time. Maneries is also about imagination and the bodily production of imagination.”

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How to Live Faster: Interview with Dito van Reigersberg of Pig Iron

Posted May 19th, 2015

141005_PIG_IRON_LIVE_FASTER19118Pig Iron Theatre Company’s latest wild theatrical creation opens this week at FringeArts. I Promised Myself to Live Faster is an absurdist sci-fi epic and wild allegory about gayness in 2015, and inspired by the life and works of theater legend Charles Ludlam. We caught up earlier this year with co-creator Dito van Reigersberg while Live Faster was still in development to give us some insight.

FringeArts: How did the idea for I Promised Myself To Live Faster come about?

Dito van Reigersberg: It was a strange and circuitous route to the sci-fi world. Mainly we began with the idea of a Pig Iron piece instigated by me/Martha Graham Cracker, my drag alter-ego. Originally it was called The Melodrama Project and I was interested in going for high-stakes drama but in a kind of camp or ridiculous setting. One exercise we did early on was create characters based on silly voices that we liked and then we tried to retain these goofy voices/characters but play a serious, dramatic scene, with no comment or laughing on the part of the performers. I guess it was a version of what Martha is, a hairy-chested drag queen who is sometimes playing for laughs, sometimes quite unexpectedly serious and sincere.

Then I was doing Irma Vep at Act II, this crazy quick-change romp of a play by Charles Ludlam. And I was reading a biography of Ludlam at the same time. He was also a hairy-chested drag queen, like me! He led an insanely talented and wild group of ragtag performers and made a huge mark on the downtown New York City theater scene. He was one of our director Dan Rothenberg’s heroes; Dan knew all the anecdotes about Ludlam via his High School drama teacher Bill Sweeney.

141005_PIG_IRON_LIVE_FASTER19466Then we thought about making a kind of biopic about Ludlam. His life story is kind of incredible. He was an outcast, a precocious teen—he staged Japanese Noh dramas with his High School friends. In acting school he was told that his acting style was “too enormous” and that he was to be strictly “a character actor,” and then he created this theater company in which he was the star performer, playwright, director, and impresario. His most famous performance was Camille, in which he tragically dies in hairy-chested drag in a performance that also blended the dramatic and the ridiculous; his company in fact was named the Ridiculous Theatrical Company. His real-life death of AIDS at the age of forty-four is the chilling counter to all of the silly joy of his life. And it is haunting, the fact that he played Camille, a character dying of consumption, over and over, as his most famed role.

But eventually, although a biopic did seem possible and exciting, we decided to set ourselves free from the truth and the real history and give ourselves permission to do something as silly and frolicsome as Ludlam, in a Ludlamesque way, sprayed with an Essence du Ludlam.

FringeArts: And the title is from . . . ?

Dito van Reigersberg: Our title comes from a line from Camille. She says: “I knew I would not live as long as the others so I promised myself to live more quickly.”

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