So there’s two shows that, I think, have become audience favorites for Fusebox 2016: Bronx Gothic and Dickie Beau: Unplugged. Or, at least, that’s the result of my unscientific polling around the hub last night, as well as my own personal experience. I saw Bronx Gothic when it premiered in New York and was wowed
We’re packed into a shotgun style hall on the second floor of a campy german social club. There are barbies with lederhosen encased in the walls, billowy red ribbons cover the ceiling. The lights are low, drink in hand, I’m peering over bobbing heads to get a glimpse of the neon spandex mesh glued to
Samson Young is considering sonic warfare. Night bombing videos are a thing on YouTube, like how cat videos are a thing. They sound different than you’d imagine, he started wanting to do sound design for these videos. As he continues working on this project he consideres feeling the magnitude of what it means morally to do
Saturday’s chat was the mega-panel of who’s who in festival curating: Karen Farber (Counter Current Festival, Houston), Martin Faucher (Festival Transamériques, Montreal), Gideon Lester (Crossing the Line Festival, NYC), Angela Mattox (TBA Festival, Portland), Mark Russell (Under the Radar Festival, NYC) and, of course, Ron Berry. These six came together to answer some of the hard questions about balancing the varying
Much of the conversation at this year’s festival has centered around geographical context. Questions have come up repeatedly about the balance between presenting local and non-local work, how to engage community audiences and the pros and cons of touring work that was created in a vastly different context than the one at a given festival.
It’s day number four of the Fusebox Festival, and I’m feeling that festival exhaustion start to set in a bit. The run-around intensity of seeing shows, chatting quickly with people, making way between venues, then drinking at the hub at night…it takes it out of you! The same thing happens to me every January in
Friday’s Waffle Chat brought together Annie B Parson Lazar, David Neumann, Okwui Okpokwasili, and Brian Rogers in a talk that centered about practice, resistance and live/virtual performativity. All four panelists are invested in liveness and the body in ways that rubs up against mediated intimacy. Again, I will leave you with a string of questions
Tonight, the LA-NYC performance group My Barbarian present the latest iteration of Post-Living Ante-Action Theater (PoLAAT) at the festival hub, in participation with their residency at UT Austin’s Visual Art Center. Straddling theater and visual art performance, the group do provocative work, and I’m excited to get to experience PoLAAT, which was developed in New
Workin' #fieldguide #standup A photo posted by Rude Mechs (Austin, TX) (@rudemechs) on Mar 15, 2016 at 5:55pm PDT Last night I caught the opening of the Rude Mechs’ Field Guide, a bizarre, devised, loose adaptation of Doestoevsky’s The Brothers Karamazov. Perhaps most notable about the production design is that fact that scenic design–consisting of
Sitting in Timothy Braun’s truck yesterday–which he affectionately refers to as the Millennium Falcon, if I recall correctly–en route from Salvage Vanguard to the Museum of Human Experience, he commented to the effect that: “It’s always interesting to see what Ron Berry’s thinking about as you go through the shows. This year, it seems like