ST. ANN’S WAREHOUSE ANNOUNCES 2016-17 SEASON
ST. ANN’S WAREHOUSE ANNOUNCES 2016-17 SEASON
ST. ANN’S WAREHOUSE ANNOUNCES 2016-17 SEASON IN ITS NEW WATERFRONT HOME, OPENING WITH THE WORLD PREMIERE OF TAYLOR MAC’S WILDLY AMBITIOUS A 24-DECADE HISTORY OF POPULAR MUSIC
Performing 240 Songs over Nine Concerts and One 24-Hour Marathon, with 24 Musicians and an Array of Special Guests, Mac Charts a Unique History of America from 1776 to Today
St. Ann’s Warehouse 2016-17 Season Highlights Include the Premieres of:
- Taylor Mac’s A 24-Decade History of Popular Music, September 15 – October 8
- Beloved British Storyteller and Comedian Daniel Kitson’s New Story Show, Mouse: The Persistence of an Unlikely Thought, November 8 - 27
- Downtown New York Icon Penny Arcade’s Longing Lasts Longer, Winner of Scotsman Fringe First and Herald Angel Awards at the 2015 Edinburgh Festival Fringe, December 1 – 11
- The Donmar Warehouse Production of The Tempest, Culminating Director Phyllida Lloyd’s Trilogy of All-Female Shakespeare Productions Led by Harriet Walter, January 13 - February 12, 2017
- 946: The Amazing Story of Adolphus Tips, an Adaptation of Michael Morpurgo’s Book from Kneehigh and Emma Rice, the New Artistic Director of Shakespeare’s Globe, March 16 - April 9, 2017
Taylor Mac’s A 24-Decade History of Popular Music
St. Ann’s Warehouse, having just concluded an immensely successful inaugural season in its “stunning” (New York Magazine), “gorgeous” (The New Yorker) new theater on the Brooklyn Bridge Park waterfront, kicks off its 2016-17 season with a highly anticipated event five years in the making: the World Premiere of Taylor Mac’s A 24-Decade History of Popular Music. The “staggering magnum opus” (The New York Times) performance art concert is Mac’s subjective history of the United States, told through songs that were popular throughout the country, and in its disparate communities, from 1776 to the present day. From September 15 through October 8, Mac, a 24-piece orchestra and a vast group of special guests will perform this massive spectacle in two ways: as a series of concerts covering three decades each, and in a one-time-only, non-stop, 24-hour marathon performance.
Susan Feldman, Founder and Artistic Director of St. Ann’s Warehouse, said, “We fully expect this wild array of brilliant artists, starting with the shimmering Taylor Mac, to set and re-set the stage for another season of spectacular transformations in the new St. Ann’s Warehouse. We can’t wait!”
Over the course of A 24-Decade History of Popular Music, Mac sings 240 songs spanning America’s history, wearing a different riotous costume by Machine Dazzle to signify each decade, and backed by a 24-piece orchestra. One musician exits after each decade, until Mac is left to perform the final decade, comprised of original songs, alone.
As described by Art Forum, A 24-Decade History of Popular Music is a “face-wrenchingly funny…chronicle of s**, repression, expression, and community,” and Mac is “a master performer, riveting storyteller, and charismatic, otherworldly creature.” Scotland’s The Herald writes, “After Mac has picked over the bones of the lyrics, razzed them up with his own nuances of phrasing and across-octaves delivery and then swung off into pungent, hilariously barbed riffs on the 20th century legacy of racism, gender discrimination and bigotry that we need to discard, even ‘Jingle Bells’ would sound political and you’d be asking: ‘Who’s doing the jingling?’”
To create this epic work, Mac is collaborating with music director and arranger of the 240 songs, Matt Ray; co-director Niegel Smith; designers Machine Dazzle and 2015 MacArthur Fellow Mimi Lien; lighting designer John Torres; and dramaturg Jocelyn Clarke. The World Premiere, co-presented by St. Ann’s Warehouse and Pomegranate Arts, reflects years of development of the work, in shows covering one or several decades at a time, commissioned and presented by prestigious performing arts venues worldwide.
Later in the season, St. Ann’s Warehouse welcomes eminent American avant-gardist Penny Arcade, who, since the 1960s, has helped pave the way for Mac and other New York artists who create community through performances that are both thought-provoking and subversively funny. For three decades, Penny Arcade has brought her own brand of East Village rock ‘n roll showmanship and her signature combination of stand-up comedy and memoir to stages around the world. Her newest solo show, Longing Lasts Longer, is a fierce, visionary and ultimately hopeful critique of the gentrification that effects not only cities but ideas and culture. The production won both a Scotsman Fringe First Award and a Herald Angel Award at the 2015 Edinburgh Festival Fringe, and will have been performed over 125 times before arriving at St Ann’s Warehouse for its American Premiere, December 1 – 11, as part of an acclaimed world tour that extends until at least the fall of 2017.
Other season highlights announced today are premieres by visionary international artists and companies who have made St. Ann’s Warehouse their New York home. The incomparable British monologist Daniel Kitson returns with Mouse: The Persistence of an Unlikely Thought (November 8 – 27), a new work he describes as “about friendship and loneliness, doubt and hope, a mouse, a phone call and the unfathomable repercussions of everything we ever do.”
St. Ann’s Warehouse teams up once again with London’s Donmar Warehouse for the American Premiere of The Tempest (January 13 - February 12, 2017), the third and final work in director Phyllida Lloyd’s revelatory all-female trilogy of Shakespeare plays set against the backdrop of women in prison and led by the brilliant Shakespearean actor Harriet Walter. At home in the U.K., and in their American Premieres at St. Ann’s, the thrilling first two productions in the trilogy, Julius Caesar and last season’s Henry IV, have won widespread critical praise and have sparked an international conversation about gender roles in society as well as in Shakespeare.
Kneehigh, Cornwall’s beloved theatrical alchemists, and Emma Rice, the company’s longtime Artistic Director, who recently became Artistic Director of Shakespeare’s Globe, return with 946: The Amazing Story of Adolphus Tips, March 16 - April 9, 2017. Adapted by Rice and War Horse author Michael Morpurgo from Morpurgo’s book The Amazing Story of Adolphus Tips, this new play tells a true tale of what happened when African American soldiers met the townsfolk from Devon, England, when they were sent to their shores to rehearse for D-Day and the Normandy invasion. 946 takes its title from the number of casualties sustained during these bungled maneuvers, kept secret by the American and British governments until now. As in Brief Encounter, which went from St. Ann’s to a successful Broadway run at Studio 54, The Red Shoes, The Wild Bride and Tristan & Yseult, Rice brings Kneehigh’s full arsenal of theatrics—performances alternately poignant and comic, evocative spectacle, and gorgeous live music—to this family-friendly new production The Times (UK) called “a wonderfully life-affirming piece of theatre [that is] touchingly and gloriously imaginative.”
Tickets can be purchased at www.stannswarehouse.org, 718.254.8779 and 866.811.4111. The new St. Ann’s Warehouse is located at 45 Water Street in DUMBO, Brooklyn. Photo by Dan Norman.
ST. ANN’S WAREHOUSE 2016-17 SEASON HIGHLIGHTS
St. Ann’s Warehouse and Pomegranate Arts Present
A 24-Decade History of Popular Music
September 15 – October 8, 2016
Tickets start at $55 for the three-hour concerts covering three decades each, September 15 – October 3 at 7:30pm. Patrons can also purchase the entire series for $500. $400 tickets for the 24-hour, 24-decade marathon beginning October 8 at 12 noon and ending October 9 at 12 noon are also on sale to members today, and to the public July 6.
Taylor Mac’s A 24-Decade History of Popular Music is a performance art concert in which Mac charts the history of popular music and activism in America, from the nation’s founding in 1776 to the present day. Since beginning the undertaking in 2012, Mac has been creating the “staggering magnum opus” (The New York Times) little by little, inviting audiences to experience the work-in-progress in acclaimed shows worldwide. Now, for the first time, Mac will premiere the complete 24-decade work, a singular spectacle featuring a 24-piece orchestra, dancing beauties and a variety of special guests.
In A 24-Decade History of Popular Music, created with music director / arranger Matt Ray, Mac performs songs spanning the history of America, devoting approximately one hour of stage time (and a signature outrageous costume by longtime collaborator Machine Dazzle) to each decade. This World Premiere engagement offers two ways to experience the work: in a series of three-hour concerts covering three decades each, or in one continuous, 24-hour marathon finale—the one time that Mac intends to perform the entire work continuously.
The 24-decade concerts at St. Ann’s are as follows:
- September 15 at 7:30pm: Act I (1776-1806), “Founding Father Drag, Women’s Lib, and Crazy Jane”: the story of the American Revolution from the perspective of the Yankee Doodle Dandy and an epic battle between drinking songs and early Temperance songs from the queen at the bar who takes things just a little bit too far. This performance features a full 24-piece orchestra.
- September 17 at 7:30pm: Act II (1806-1836), “Young Love, Blindfolds, and Murder Ballads”: a romp through such chestnuts as “Old Oaken Bucket,” “An Apparition of a Dandy,” and “Poor Little Gypsy,” that #1 hit sure to be one of the great jukebox musicalsof the 19th Century. The entire audience will be blindfolded for an hour. Literally.
- September 20 at 7:30pm: Act III (1836-1866), “Puppets, Whitman, and Civil War Reenactment”: two men fall in love while escaping slavery, and Walt Whitman and Steven Foster go head to head for the title of “Father of the American Song,” culminating in the queerest Civil War reenactment in the history of mankind.
- September 22 at 7:30pm: Act IV (1866-1896), “Circus, Mikado, and the Oklahoma Land Rush”: a dinner theater production of The Mikado set on Mars. Plus: the queerest land grab in the history of mankind.
- September 24 at 7:30pm: Act V (1896-1926), “Tenements, Trenches, and Speakeasies”: a Jewish tenement, a World War I trench reenactment, and a dance-off between 12 ukulele-playing Tiny Tims and 12 Charles Dickens Tiny Tims.
- September 27 at 7:30pm: Act VI (1926-1956), “Harlem Renaissance, Prison Fantasies, and the Atomic Bomb”: Oh the Depression, ain’t it great. Also: zoot suit riots meet Japanese internment camps, and white people flee the cities.
- September 30 & October 1 at 7:30pm Act VII (1956-1986), “A March, a Riot, and a Backroom Sex Party”: Bayard Rustin’s March on Washington leads to a queer riot and sexual deviance as revolution.
- October 3 at 7:30pm Act VIII (1986-2016) “Direct Action, Radical Lesbians, and Originals”: A community builds itself under siege, radical lesbians avenge, and Mac performs original songs written for 2016.
- October 8 at 12pm noon: Marathon, Acts I – VIII (1776-2016)
An artist of both disarming vulnerability and soaring spirit, Taylor Mac is the winner of a 2016 Doris Duke Performing Artists Award, a 2016 Guggenheim Award in Drama, and a 2015 Herb Alpert Award in the Arts. Mac is widely celebrated as a playwright, actor, singer and director, and as a creator of performance events that at once provoke and embrace a diverse audience. Time Out NY has called Taylor Mac “one of the most exciting theater artists of our time.” Mac won an OBIE Award in 2010 for The Lily’s Revenge; critical praise for playing the title role in The Foundry’s Theatre’s production of Good Person of Szechwan at the Public Theater; and last year for the work Mac created with Mandy Patinkin, Susan Stroman and Paul Ford, The Last Two People On Earth: An Apocalyptic Vaudeville, which co-stars Mac and Patinkin. Mac’s play Hir made its New York premiere at Playwrights Horizons in 2015, landing on many top theater critics’ year-end best lists.
Presented by St. Ann’s Warehouse and Pomegranate Arts, A 24-Decade History of Popular Music is conceived, written, performed, and co-directed by Taylor Mac. Collaborators include music director and arranger Matt Ray, co-director Niegel Smith, dramaturg Jocelyn Clarke, set designer Mimi Lien, costume designer Machine Dazzle, lighting designer John Torres, Executive Producer Linda Brumbach, and Associate Producer Alisa E. Regas. The work is co-produced by Pomegranate Arts and Mac’s production company, Nature’s Darlings.
St. Ann’s Warehouse presents
Mouse: The Persistence of an Unlikely Thought
November 8 – 27
St. Ann’s Warehouse is pleased to welcome back Daniel Kitson, the incomparable British storyteller and comedian Ben Brantley of The New York Times has called a“monologist extraordinaire,” “unconditionally engaged and engaging,” and “consistently and enthrallingly surprising.”St. Ann’s has provided a New York home for Kitson since 2011, when the theater presented the American Premiere of Kitson’s acclaimed “story show” The Interminable Suicide of Gregory Church, followed by It’s Always Right Now, Until It’s Later, in 2012, and Analog.Ue, in 2013. These are among the most beloved productions in recent St. Ann’s Warehouse history.
Mouse is about friendship and loneliness, doubt and hope, a mouse, a phone call and the unfathomable repercussions of everything we ever do. Kitson describes the show’s genesis this way:
A few years ago, quite suddenly, I thought of something.
An implausible story about a mouse.
Since then, whenever starting a new show, faced with the empty page and the endless possibility and the looming deadline I have tried and failed to find a way of telling that particular story. Every structural gambit or presentational conceit feeling both oddly insufficient and insufficiently odd. And so, every time, eventually, I’ve abandoned the mouse and I’ve moved on. I’ve had a different idea, for a different story and I’ve written a different show.
This time was no different, again I wanted to tell that story and again I didn’t know how.
And then, quite suddenly, I thought of something else.
Something equally unlikely.
An implausible story about a phone call.
And here we are.
A native of Denby Dale, in Yorkshire, Daniel Kitson is an award-winning writer and performer whose innovative “story shows” have become a consistent highlight of the Edinburgh Festival and, in recent years, St. Ann’s Warehouse seasons. He is also an internationally celebrated stand-up comedian. Kitson has received six of the Edinburgh Festival Fringe’s prestigious Fringe First Awards, and has won the Perrier Comedy Award, two Chortle Awards (Comedian’s Comedian and Best Solo Show), The Stage Acting Award for Best Solo Show, The Barry Award at the Melbourne International Comedy Festival and The Argus Angel Award at the Brighton Festival. Mouse made its world premiere in May 2016 at the Liverpool Everyman Theatre.
St. Ann’s Warehouse presents
the London Artists Projects production of
Longing Lasts Longer
December 1 – 11
Tickets start at $35
In a singular career now spanning five decades, the New York City writer, performance artist, actress and activist Penny Arcade has remained, at home and worldwide, an icon of the American avant-garde. She made her debut with John Vaccaro’s explosive Playhouse of the Ridiculous before becoming a teenage Andy Warhol Factory Superstar, featured in the Warhol/Morrissey film Women in Revolt. She went on to collaborate with such seminal countercultural instigators as Charles Ludlum, Judith Malina and Jack Smith. The late Quentin Crisp described her as his soul mate and the woman with whom he most identified. The New York Times’ T Magazine featured her in its recent photo essay “They Made New York”, alongside other artists that define New York City’s cultural landscape including Fran Lebowitz, Susan Sarandon, Philip Glass and Chuck Close. The Times has also recognized her among pioneering downtown solo performance artists such as Eric Bogosian and Spalding Gray.
Arcade’s most substantial artistic contribution is her body of solo performance art pieces and full-length shows, including her internationally renowned work about s** and censorship, Bitch! Dyke! Faghag! Whore!, which shehas performed in over 30 cities, including a year-long Off Broadway run and a 48-performance 20th anniversary revival in London in 2012. London’s The Times called it “the smartest, most quotable theatrical party in town” solidifying Arcade’s reputation for powerful one-liners. In a five-star review, Time Out London wrote, “[This] signature piece and its exploration of misogyny and repressions in capitalist society remains as challenging, witty and germane today as when it premiered two decades ago—acute, humane, unmissable.”
Arcade is at the peak of her powers in Longing Lasts Longer, a hit at the 2015 Edinburgh Festival Fringe, where it won a Scotsman Fringe First Award, a Herald Angel Award, and numerous five-star reviews. The show builds upon Arcade’s many writings and performances about gentrification and capitalism’s effect on the creative mind, individual freedom and the unique character of New York City, whose “queers, junkies, whores, stars, deviants and geniuses” attracted her, at 14, to climb out of her bedroom window from the small factory town of New Britain Connecticut, where, as Susana Carmen Ventura, she grew up the daughter of Italian immigrants.
Conceived, written and performed by Penny Arcade, Longing Lasts Longer employs her signature combination of stand-up comedy and memoir and a live-mixed soundtrack of popular music from the past five decades. The show critiques the current moment—the suburbanization of New York City, which has turned it from the Big Apple into the Big Cupcake, and from the city that never sleeps to the city that can’t wake up. Longing Lasts Longer does not traffic in nostalgia; rather, it is a passionate exploration of cultural amnesia and the erasure of history. Arcade sends up every decade from the 1960s through to the present day, celebrating the spirit of individuality that still draws people to New York and inspires young and old alike.
Writing about a work-in-progress performance of Longing Lasts Longer at Joe’s Pub in 2014, The New York Times described it as “a meditation on gentrification [that] mixes social criticism and pop culture, history and humor to present the artist’s distinctive picture of New York’s past, present and future, against a musical backdrop.” In a profile of Arcade on the occasion of the show’s recent Australian tour, The Australian characterized Longing Lasts Longer as “a rampage through opinions and themes garnered over four decades spent perched on society’s edge, a wake-up call to a younger generation rendered comatose by consumerism [and] capitalism.”
The creative team for Longing Lasts Longer includes Arcade’s longtime collaborator, designer and co-director Steve Zehentner and creative producer Jeremy Goldstein.
Donmar Warehouse and St. Ann’s Warehouse present
The Donmar Warehouse production of
By William Shakespeare
Directed by Phyllida Lloyd
Featuring Harriet Walter
January 13 - February 12, 2017
Tickets start at $40
St. Ann’s Warehouse forged a close and fruitful relationship with London’s Donmar Warehouse when the organizations co-presented the American Premiere of the Donmar’s Julius Caesar, directed by Phyllida Lloyd, in 2013. The production was the first in a trilogy Lloyd envisioned, of Shakespeare plays performed by an all-female cast led by Dame Harriet Walter and set against the backdrop of a women’s prison.
The trilogy continued with Henry IV, whose American Premiere St. Ann’s presented to considerable praise in 2015. From the outset, the trilogy has stunned audiences on both sides of the Atlantic, sparking not only a debate about “who owns Shakespeare,” but also, more broadly, a rich cultural and social conversation about gender, equality and aspiration. Of Henry IV, Ben Brantley of The New York Times wrote, “It’s an exultant spirit of freedom with which these captive women burn…[and] a multilayered act of liberation. Prisoners are allowed to roam the wide fields of Shakespeare’s imagination; fine actresses are given the chance to play meaty roles that have been denied them; and we [the audience] get to climb out of the straitjackets of our traditional perceptions.”
In The Tempest, Walter, deemed “one of the best Shakespeareans alive” by The Guardian, will play Prospero. The diverse cast will include numerous actors who performed in Julius Caesar and/or Henry IV, including Jade Anouka, Shiloh Coke, Jackie Clune, Karen Dunbar, Zainab Hasan, Sophie Stanton and Caroline Valdés. The company will also welcome Sheila Atim and Martina Laird.
As with Julius Caesar and Henry IV, the Donmar Warehouse will bring its highly successful and enlightening multi-pronged education program to New York City with The Tempest. There will be in-school workshops, an intensive half-day workshop for young women and mentors, as well as workshops organized specifically for young people in the juvenile justice system.
St. Ann’s Warehouse presents
946: The Amazing Story of Adolphus Tips
Adapted by Michael Morpurgo and Emma Rice
Directed by Emma Rice
March 16 - April 9, 2017
Tickets start at $40
Cornwall’s internationally beloved theater company Kneehigh returns to St. Ann’s Warehouse with 946: The Amazing Story of Adolphus Tips, adapted by Emma Rice, the new Artistic Director of Shakespeare’s Globe, and War Horse author Michael Morpurgo, from Morpurgo’s book The Amazing Story of Adolphus Tips. Rice employs Kneehigh’s signature blend of high theatrics—performances alternately poignant and comic, evocative spectacle, and gorgeous live music—to tell a true tale of local Devon, England townsfolk and the African American soldiers sent to rehearse the Normandy invasion from their shores.
946 takes its title from the number of casualties sustained during these bungled maneuvers, a secret kept by the American and British governments. The show is a tender coming-of-age story told from the perspective of a little girl named Lily, who lives with her family and her fiercely independent cat, Adolphus Tips, in the idyllic seaside village of Slapton. They have scarcely been touched by war before American soldiers arrive to share their home and land in preparation for the D-Day invasion.
Rice and Morpurgo workshopped 946: The Amazing Story of Adolphus Tips with a team of performers at Kneehigh’s famous barns in Cornwall. The production represents the first time Morpurgo has co-adapted one of his own books for stage. He says of the experience, “There is no theatre company that tells stories more imaginatively, more unexpectedly than Kneehigh.”
946: The Amazing Story of Adolphus Tips comes to St. Ann’s Warehouse after a sold-out run at Kneehigh’s Asylum in Cornwall in the summer of 2015. The Times (UK) has called it “a wonderfully life-affirming piece of theatre...touchingly and gloriously imaginative,” and The Guardian has described it as a “profoundly moving celebration of the love and hope Morpurgo writes about in his books.”
The production features original music by Stu Barker, design by Lez Brotherston, lighting by Malcolm Rippeth, and a cast including Mike Shepherd, Ewan Wardrop, Kyla Goodey, Katy Owen, Emma Darlow, Adam Sopp, Nandi Bhebhe, Chris Jared, Ncuti Gatwa, Pat Moran and Seamas Carey.
St. Ann’s Warehouse has been Kneehigh’s New York home since 2009, when St. Ann’s premiered director Emma Rice’s adaptation of Noël Coward’s Brief Encounter. The production went on to a successful Broadway run at Studio 54. The company returned to St. Ann’s with The Red Shoes, an adaptation of the Hans Christian Andersen tale, in 2010; The Wild Bride, an adaptation of the Grimm Brothers fairy tale The Handless Maiden, in 2012; and, most recently, with Tristan & Yseult, Rice’s adaptation of the epic Cornish drama, in 2014.
About St. Ann’s Warehouse
St. Ann’s Warehouse plays a vital role on the global cultural landscape as an American artistic home for international companies of distinction, American avant-garde masters and talented emerging artists ready to work on a grand scale. St. Ann’s signature flexible, open space allows artists to stretch, both literally and imaginatively, enabling them to approach work with unfettered creativity, knowing that the theater can be adapted in multiple configurations to suit their needs.
In the heart of Brooklyn Bridge Park, St. Ann’s Warehouse has designed a spectacular waterfront theater that opened in October 2015. The new theater offers St. Ann’s signature versatility and grandeur on an amplified scale while respecting the walls of an original 1860’s Tobacco Warehouse. The building complex includes a second space, a Studio, for St. Ann’s Puppet Lab, smaller-scale events and community uses, as well as The Max Family Garden, designed by landscape architects Michael Van Valkenburgh Associates and open to Brooklyn Bridge Park visitors during Park hours.
Susan Feldman founded Arts at St. Ann’s (now St. Ann’s Warehouse) in 1980 as part of the New York Landmarks Conservancy, to help save the National Historic Landmark Church of St. Ann and the Holy Trinity on Montague Street in Brooklyn Heights. For twenty-one years, St. Ann’s presented a decidedly eclectic array of concert and theater performances in the church sanctuary.
From Fall 2001 through the 2014-15 season, the organization activated found spaces in DUMBO with the world’s most imaginative theater- and music-makers, helping to make the burgeoning neighborhood a destination for New Yorkers and tourists alike. After twelve years (2001-2012) in a warehouse that was located at 38 Water Street, St. Ann’s transformed another raw space at 29 Jay Street, turning it into an interim home for three years (2012-2015) while the organization adapted the then-roofless Tobacco Warehouse at 45 Water Street in Brooklyn Bridge Park into the new St. Ann’s Warehouse.
The Inaugural Season, November 2015 – June 2016, featured signature international presentations that continually demonstrated the flexibility of the new St. Ann’s Warehouse. The season began with the Donmar Warehouse all-female Henry IV, directed by Phyllida Lloyd and starring Harriet Walter, and continued with The Last Hotel, a new opera from Donnacha Dennehy and Enda Walsh; Nice Fish, written by Mark Rylance and prose poet Louis Jenkins after Jenkins’ prose poems, and performed by a cast led by Rylance; the Young Vic’s immensely acclaimed production of A Streetcar Named Desire,directed by Benedict Andrews, with an explosive cast led by Gillian Anderson, Ben Foster, Vanessa Kirby and Corey Johnson; and Bianco, from the Cardiff-based international contemporary circus company NoFitState, which St. Ann’s presented in a flying-saucer shaped tent erected under the Brooklyn Bridge in May 2016.
Almost four decades of consistently acclaimed landmark productions that found their American home at St. Ann’s include Lou Reed’s and John Cale’s Songs for ‘Drella; Marianne Faithfull’s Seven Deadly Sins; Artistic Director Susan Feldman’s Band in Berlin; Charlie Kaufman and the Coen Brothers’ Theater of the New Ear; The Royal Court and TR Warszawa productions of Sarah Kane’s 4:48 Psychosis; The Globe Theatre of London’s Measure for Measure with Mark Rylance; Druid Company’s The Walworth Farce, The New Electric Ballroom and Penelope by Enda Walsh and Walsh’s Misterman, featuring Cillian Murphy; Lou Reed’s Berlin; the National Theater of Scotland’s Black Watch; Kneehigh Theatre’s Brief Encounter and Tristan & Yseult; Yael Farber’s Mies Julie; Dmitry Krymov Lab’s Opus No. 7; the Donmar Warehouse all-female Julius Caesar and Henry IV; Kate Tempest’s Brand New Ancients; Tricycle Theatre’s Red Velvet and, most recently, the National Theatre of Scotland’s Let the Right One In. St. Ann’s has championed such artists as The Wooster Group, Mabou Mines, Jeff Buckley, Cynthia Hopkins, Emma Rice and Daniel Kitson, and presented an historic David Bowie concert in 2002.
The new St. Ann’s Warehouse retains the best of its past homes: the sense of sacred space of the organization’s original home in the Church, and the vastness and endless capacity for reconfiguration artists have harnessed in St. Ann’s temporary warehouses in DUMBO.
For more information, please visit www.stannswarehouse.org.
By Chuck Bigger
With all the hype, everyone expected thousands of people traveling everywhere for the Total Solar Eclipse. No matter what, the eclipse was a smashing success for anyone who had the opportunity to view it.