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COMING TO THE BRICK THEATER'S PRETENTIOUS FESTIVAL IN JUNE 2007
Directed by Jeff Lewonczyk
Created with and performed by:
Fred Backus, Katie Brack, Hope Cartelli, Bryan Enk,
Stacia French, Robert Pinnock, Robin Reed, Iracel Rivero
Soundscape by Ryan Holsopple
Fight Choreography by Qui Nguyen
Costumes by Julianne Kroboth
Wed 6/27 @ 7pm
Fri 6/29 @ 8:15pm
Sat 6/30 @ 3pm
Sun 7/1 @ 5pm
The Brick
575 Metropolitan Avenue, Williamsburg
Tickets $10
For tickets and fest info:
www.bricktheater.com/pretentious
Piper McKenzie Productions was founded in 1998 when Hope Cartelli and Jeff Lewonczyk, upon graduating from Bard College, decided to make good on four or so years of vaguely contentious liberal arts education by creating a DIY outlet for their burning, itching compulsion to create dangerously effervescent theatrical art. Years later, with their Bizarre Science Fantasy dance-theatre series and a number of other projects, they continue, with grit and conviction, to tread the difficult but rewarding road of dramatic hardihood they embarked upon with their first serious production, Piper McKenzie Presents the Tinklepack Kids in the Great Yo-Yo Caper.
Piper McKenzie operates without a mission statement, allowing Cartelli, Lewonczyk, and their associates to do pretty much whatever they damn well please. The company has presented quirky existential vaudevilles (The Infinity Six Versus Half a Dozen of The Other; Fallout Follies), comic strip fantasias (Piper McKenzie Presents The Tinklepack Patrol in The Curse of Count Morpheus), oblique political farces (A Different France), and revivals of plays by the 20th-century Polish avant-gardist Stanislaw Ignacy Witkiewicz (The Water Hen; The Pragmatists), before embarking upon the current Bizarre Science Fantasy project. But this new direction has not stopped them from staging a world premiere musical, Adventures of Caveman Robot, a production of Vaclav Havel's radio play Guardian Angel, and doing some other stuff they don’t even really know about yet.
So okay, it’s not like all these disparate threads have nothing in common. They share a common distaste for the mainstream naturalism/realism that characterizes much of contemporary American theatre; they believe in stylization, kineticism, and formal playfulness as a means of stretching theatrical boundaries; they take seriously the potential of comedy as a revolutionary force; they revel in the folklore and archetypes of American pop culture; and they all bow down to the ineffable genius of Hope and Jeff.
This is art.
This is global metamorphosis.
This is what we’re stuck with.
This is Piper McKenzie.
