9.12 NYC @ Saint Vitus Bar - SOLD OUT
9.13 NYC @ Saint Vitus Bar - SOLD OUT
9.19 New Orleans, LA @ Gasa Gasa
STG Presents Kate Wallich's Industrial Ballet produced by Velocity at The Moore Theatre on March 26, 2016.
Doors open at 7:00pm, show at 8:00pm
GA seating. Tickets are $20.00 advance, $25.00 day of show, $18.00 under 25 with I.D., $50.00 patron ticket supports the equivalent of 5 hours of rehearsal space for a Velocity artist (not including fees).
"Kate Wallich, Seattle's wunderkind millennial choreographer, premieres her biggest project to date, Industrial Ballet, in a one-night-only event taking over the historic Moore Theatre."
In celebration of her "third 17th birthday", violist Heather Bentley has selected a group of 12 Seattle composers to write new works for chamber ensemble.
Paris Hurley, violin
Heather Bentley, viola
Beth Fleenor, clarinet/bass clarinet
Steve Schermer, bass
On the 70th anniversary of Italy’s liberation from fascism, Italian-American choreographer Alice Gosti, in collaboration with composer/vocalist Hanna Benn, premieres this five-hour, come-and-go, immersive performance, sparked by a series of interviews with Italian resistance fighters. How to Become a Partisan merges wild physicality with haunting vocals and intergenerational choirs inside a Seattle landmark.
How to Become a Partisan is commissioned, developed, and produced through Velocity’s Made in Seattle new dance development program.
"A cinematic journey through Ridley's Scott's 1979 Alien, guided by a new live musical score crafted by Newaxeyes. This local Seattle quartet smears the boundaries of genres like hiphop, psych rock, noise and musique concrete for aural alchemy that telegraphs equal parts menace and beauty."
Experimental theatre company Modern Recollections concludes its week-long residency at the Cornish Playhouse (formerly Intiman Theatre) with a preview performance of a new original work-in-progress featuring a live electro-acoustic score by composers William Hayes and Cameron Armstrong with bassist Abbey Blackwell, marking their collaborative debut.
More about the Cornish Playhouse Arts Incubator Residency
The Ballad of Ishtar is an electro-acoustic, semi-improvised opera that responds to our world-wide rape culture crisis.
Its contemporary language is shaped by its particular musician creators, whose backgrounds all include improvisation and composition. Featuring singer/clarinetist Beth Fleenor in the title role and okanomodé (aka SoulChilde BlueSun) as the androgynous character Asu Shu-Namir, the ensemble represents the intersection of many facets of current art music and responds to the 400-year-old genre of opera with contemporary methodologies (conduction led by Wayne Horvitz), sounds (live-electronic soundscape and prepared guitar by William Hayes) and virtuoso improvisational skill. Other characters are played by vocalist extraordinaire Jimmie Herrod (the Queen of the Underworld), and a dance representation of Ishtar by violinist/dancer/improviser/composer Paris Hurley. The instrumental ensemble comprises saxophonist Ivan Arteaga, violist/composer Heather Bentley, trumpeter Ahamefule J. Oluo, King Crimson guitarist Trey Gunn, leading virtuoso on the touch guitar; Grammy award-winning bassist Evan Flory-Barnes, and guitarist/actor Michaud Savage.
"The Ballad of Ishtar"
Ishtar: Beth Fleenor / vocals, clarinet
Paris Hurley / movement
Asu Shu Namir: okanomodé / vocals
Queen of the Underworld: Jimmie Herrod / vocals
The Gatekeeper: Michaud Savage / vocals, percussion
Wayne Horvitz / conduction
Ivan Arteaga / saxophone
Ahamefule J. Oluo / trumpet, percussion
Trey Gunn / touch guitar
William Hayes / electronics, prepared guitar
Heather Bentley / viola
Evan Flory-Barnes / bass
The Pendleton House presents: CVBE OV FALSEHOOD, WILLIAM HAYES // MOVEMENT ARTISTS ARIANA BIRD, CHANTAEL DUKE, ALEXANDRA MARICICH, BAYLEE DREW REYNOLDS
A one night only, split-bill show featuring Oakland/Portland based duo Cvbe ov Falsehood and William Hayes in collaboration with Seattle based movement artists. Choreographer/dancer Ariana Bird and William Hayes, in addition to curating and producing the show with support from The Pendleton House, present "Captivity", a new collaborative work featuring movement choreographed and performed by Ariana Bird, prepared guitar & electronics composed and performed live by William Hayes, joined by percussionist Joseph Eck. The piece explores collective human behavior through themes of mythology, death ritual, and paleolithic religion; investigating the link between primitive and sacred tradition.
Movement artists Chantael Duke, Alexandra Maricich, and Baylee Drew Reynolds collaborated with Oakland, CA based composer Ryan Jobes and Portland, OR based composer Luke Kranker (Cvbe ov Falsehood), joined by Portland based electronic musician Joshua Convey on an evening length original work, which the six artists developed together over an intensive week-long residency.
Modern Recollections: I Have Seen Half of God's Face Here, The Other Half is Yours
As a part of Alice Gosti’s lauded Yellowfish Epic Durational Performance Festival, Carl Lawrence presents a new work with experimental theater company Modern Recollections entitled “I Have Seen Half of God’s Face Here, The Other Half Is Yours”. Sonically, the score is built entirely of samples and makes use of an "image synthesis" process which allows digital images to be transcribed into live sound, enabling sounds to be derived directly from dramaturgical images and to "sample" the physical performance space by photographing it. The electronic score is performed live by William Hayes, with a duration of approximately 5 hours.
"I Have Seen Half of God's Face Here, The Other Half is Yours"
Carl Lawrence / concept, writer & director
Matt Drews / choreographer, performer
William Hayes / composer & sound designer
Cameron Fletcher / performer
Reilly Sinanan / visual artist & scenic designer, performer
Kyle Bernbach / performer
Juan Franco / dramaturge, performer
Joshua Taylor / publication designer, performer