Posts Tagged ‘David Brick’

Rooster and Snowball, Two Crazy Mofos Come To Jumpstart!

Posted May 8th, 2013

On May 13 and 14, FringeArts presents our second annual Jumpstart, a showcase designed to identify new and emerging talent in the field of live performance. 2013 will feature six artists/companies performing short works, and we here at FringeArts Blog thought we’d catch up with them. Chelsea Murphy and Magda San Millan will be performing their dance-theater work Rooster & Snowball, in which, as they explain, “Two crazy motherfuckers try to change the modern dance world right before your very eyes.”

Well, let’s find out more!

The Snowball and the Rooster. Photo by David Brick.

The Snowball and the Rooster. Photo by David Brick.

FringeArts: Why is your show title Rooster & Snowball?

Magda: The title is the names of our characters and the names came from the hats: I found this hipster looking hat with a mohawk made of yarn and Chelsea’s is a round white thing. We wore our hats during tech and afterwards I was talking to David Brick [of Headlong Dance Theater] about the characters and the names came from the shapes of the hats. But in a great way the hats influenced the characters, crystallized their essence into this direction they were already going. The hats made the men, so to speak.

Chelsea: You keep saying “characters” but when people have called them “characters” in the past we’ve corrected them. I don’t think they are characters what we are doing. They’re more like . . . what’s that word?

Magda: Personas? Personalities? Essences?

Chelsea: I just think there isn’t any acting involved in this situation. These are the goofy, exhausted, angry-about-stuff versions of ourselves that come out when we are in rehearsal together.

Magda: Right, but to differentiate between the two: Rooster is more aggressive, explosive and Snowball has this icy exterior and weapon metaphor going on. Rooster throws the Snowball.

Chelsea: Why didn’t we think that??

Magda: I just did, I just did think of it.

Chelsea: Okay, but we also wanted to talk about the shared character trait between them: the “failed Rebel” we call it. Both of our performances are about this failed rebel.

Magda: Someone who projects rebel but follows all the rules on a daily basis.

Chelsea: Or not even that they project the rebel image, but other people perceive them that way.

Magda: But they still get nervous about jaywalking.

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Headlong’s DESIRE Arrives In May: A Quick Chat With Andrew Simonet

Posted April 5th, 2012

Andrew Simonet pauses before answering.

Headlong Dance Theater returns to the stage this May with a new show, DESIRE, directed by K. Elizabeth Stevens, and performed and co-conceived by Headlong co-directors Amy Smith, Andrew Simonet, and David Brick. The piece will be at the Performance Garage, 1515 Brandywine Street, one of my favorite places, May 4 and 5 at 8pm and May 6 at 3pm. A reception will follow the May 5 performance. We caught up with Andrew and had him give us the lowdown on DESIRE.

Live Arts: How did this project come about?

Andrew Simonet: We have been looking to get back on stage together. In the last decade, one of us has usually sat out to direct—or at least jumped in and out. There is an amazing clarity and connection we have when we are in the studio or on stage together. But when you run a company together your focus is on a lot of different things: the production, the design, the budget, the PR. Elizabeth, my wife, came to us and proposed directing us in a trio and it felt perfect. A chance to work together, create together, and share the stage—with someone else running the show!

LA: You, and your co-directors Amy Smith and David Brick are performing together. It seems like you’ve all been getting back on stage more lately. Why so, and what are you learning by doing so now?

AS: A lot of things can pull us away from performing. In 2008-2009, we did a project with Tere O’Connor, and none of us could be in the piece, so we spent two years working with our six dancers, and not performing. That process opened up a lot of possibilities in our work and our collaboration. We have new ways of developing and analyzing work. So being together as performers has a beautiful familiarity and a sense that there are new places for us to go together.

LA: How does the experience of performing differ now than from, say, 15 years ago?

AS: I can’t speak for everybody. But here’s what I would say: it’s clear. Like water. There is immediate recognition and understanding. You know where each person is going. You know how to say yes, and how and when to contradict.

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