production
New Georges @ the Flea Theater, Feb 2018
directed by Debbie Saivetz
sound: Tyler Kieffer and Brandon Wolcott
set: Marsha Ginsberg
lights: Kate McGee
movement: Brendan Spieth
costumes: Olivera Gajic
with Susannah Stahlmann, Vicky Finney Crouch, James Himmelsbach
press
With a spirit of experimentation as daring as Oram herself, the production introduces original characters and a fictional plot line that parallels, but also takes apart, Oram’s space/time continuum…Sound House, both in terms of its structure and aesthetics, is more avant garde opera than narrative drama, with its thematic repetitions, heightened language, choreographed movements, and perhaps most importantly, its magical sound effects (Tyler Kieffer & Brandon Wolcott), which are at times symphonic, at times disruptive, but always transformative. —Theatre Is Easy
development
New Georges Audrey Residency workshop, NYC, August 2016
directed by Debbie Saivetz
sound: Brandon Wolcott
movement: Brendan Spieth
with Birgit Huppuch, Vicky Finney Crouch, James Himmelsbach
New Georges Audrey Residency workshop, NYC, November/December 2015
directed by Debbie Saivetz
with Gayle Rankin, Vicky Finney Crouch, Damon Daunno, Brendan Spieth
awards/honors
• 2017 Venturous Foundation Venturous Capital Grant
• 2014–15 Howard Foundation Fellowship in playwriting
• 2 Skidmore Faculty Development Grants
press
• 2014–15 Howard Foundation Fellowship in playwriting
• 2 Skidmore Faculty Development Grants
[2 F, 1 M / 1 table, 3 chairs, 2 mics, 1 door]
SOUND HOUSE
A play with movement and sound
about doorbell ditching, disappearing mothers, Haarlem with 2 As,
the electronic composer/inventor Daphne Oram, and invisibility.
“Wee have also sound houses,
where we practice and demonstrate all sounds, and their generation.”
We have harmonies which you have not,
Of quarter sounds and lesser slides of sounds.
Divers instruments of music likewise to you unknown—”
Jim Himmelsbach and Susannah Stahlmann; lights: Kate McGee; set: Marsha Ginsberg