Conceived, Choreographed, and Performed by CHELSEA BACON and SALLY ROUSSE
Lighting Design JEFF BARTLETT
Soundscape* NATHAN CARLTON
Costumes CHELSEA BACON Built at Mary Hansmeyer's studio
Light Board Operator CHRISTA OLSON
Sound Engineer STEVE CARLI NO
Creative Consultants JUDITH HOWARD AND BEN KREILKAMP
Rigging DEAN HAWTHORNE
Strong Man Stage Right DEVIN CAREY
Production Assistant RAINA LINNERSON
Intern SARAH BAUMERT
Promotional Materials JOSEPH O'LEARY, VETO DESIGN
Running time of show is approximately 70 minutes There is no intermission.
Sound consists of the music of Kronos Quartet, Dirty Three, Mozart, Ameobic Ensemble, Savage Aural Hotbed, and traditional Vietnamese singing. Original Music for IV. recorded and engineered by James Sewell with Mark Stillman (accordian) and William Schrickel (double bass) arranged by Sally Rousse.
It is with great humility and some hubris perhaps that we present these scenes... these acts... these musings on the brain.
The focus is on extreme minds in particular and how they cause us to behave.
Two extreme minds that have inspired much of "trickpony" are Temple Grandin, a "high functioning autistic" who designs livestock handling facilities, and a little Ukranian-born girl named Nadia.
Nadia lived in England with her parents and eventually a sister. Her uncanny ability to draw despite her inability (refusal?) to speak baffled everyone around her. Her favorite subjects to draw were horses. Somehow, even at age four, she was able to capture the movement and spirit of those complexly-muscled beings, without having seen them in person/horse. When she eventually began to speak at around age seven, the drawing ceased.
Temple Grandin frequently compares the minds of an autistic to those of prey animals (horses, cows, etc.) because of their heightened senses and the constant state of anxiety they both live in. When she was very young she constructed her "squeeze machine" in order to compress and calm her hyper-sensative nervous system. She has incorporated a version of this squeeze machine into her facility designs to calm animals about to be vaccinated or slaughtered.
In "trickpony" we sometimes use the three apparrati as geographical parts of the brain, and also as a squeeze machine, a container, a picture frame, a screen, a corale a bedroom. As performers,we simultaneously and individuallly portray: sides of a single child; horse, dreams, drawings, ideas, and a brain..
Chelsea Bacon is a New York City-based professional aerialist. Last year she created the downtown hit, "Breaker: an aerial fairie tale." She is currently rehearsing "Sweet Nothings for my Neurosurgeon," a full-length aerial music-theatre piece, directed by Maria Mileaf, with music by Rachelle Garniez, that will be presented at the Flea in March 2003. An excerpt of this piece was recently workshopped at The Kitchen as part of Dance in Progress. Chelsea has performed in Minneapolis for three years as a part of Three Legged Race's Blizzard in August, showing collaborations with Nikki Byrd, Damon Matthews, and Katie Baldwin. She has performed with the Pan Twilight Circus, and at many New York and international venues. She began her training in trapeze in 1991 while living in London and continued her training with Shana Carroll and Sandrine Deplanque. She holds a BFA in dramatic writing from New York University.
Sally Rousse is best-known to the Twin Cities audiences through her performances with James Sewell Ballet. Before moving to Minnesota in 1993, she helped establish JSB New York City with Sewell, now her husband and father to their 4-year-old daughter Mona. Rousse began dancing 30 years ago in Barre, Vermont. She trained at the School of American Ballet and with noted teacher David Howard before performing as a leading dancer with Ballet Chicago, The Royal Ballet of Flanders, and James Sewell Ballet. In addition to performing many roles in the classical and Balanchine repertoires, Rousse has also danced works by Maurice Bejart, Jiri Kylian, and over 60 new works created on her by contemporary choreographers. In 1994 she began studying and performing Improvisation and Contact, mainly with Patrick Scully and Chris Aiken. Since then, she has joined the small but growing community of ballet dancers who aim to draw upon as large a movement palette as possible and whose work extends the definitions of ballet and ballerina - including the aesthetics, capabilities, and relevance to present life. In 2001 she was awarded a McKnight Fellowship for Dancers and subsequently took a sabbatical from JSB to further explore her movement potential.
Jeff Bartlett has lit several hundred productions in many artistic disciplines over the past two decades. Dance lighting and alternative theatrical performances are his specialties. He has collaborated with most of the artists presented at the Southern, as well as designed at other venues including The O'Shaughnessy, the Ordway Music Theater, the Guthrie Lab, Northrup Auditorium, and New York's Joyce Theater. He has also received two grant awards for projects in which he explored the use of light as a stand-alone, performed, visual art form, and he currently serves on the adjunct faculty of the Department of Dance at the University of Minnesota, teaching dance lighting to dance students.
Nathan Carlton has designed sound for several local choreographers and theater companies including Hidden Theater, 15 Head: a theater lab. Precipice Theater, Rosey Simas, Gerry Girouard, Jim Northrup, and others. His work has played at venues such as The Southern, The Walker, The Red Eye, Patrick's Cabaret, and The Theater Garage. He is honored to be a part of "trickpony." He can be contacted via mp3.com/sagacity.
We thank the following people for their generous contributions and support during the creation of trickpony:
Christy, Jim Bovino, Penelope Freeh, Stephanie Carr Smith, Stephane Andre, Justin Leaf, Julia Welsh, Stefanie Felner, Tom McName, Richard Hruby, Chris Aiken, Peter Bingham, Damon Horowitz, Katie Baldwin, Harris Structured Steel, Andrew Wagner, 3-Legged Race, David Moore, Pamela Hill Nettleton, Mary Hansmeyer, William Schrickel, Mark Stillman, Gary Peterson, Lisa DeRibere, Will Fehlow, Renee Rouleau, Fred and Gloria Sewell, George and Julia Sutton, Chris Thomson, Cecilly Sommers and Paul Enck,, Muriel B. Harris, Tookie Bacon, Patricia Farnham, Nancy Banchy, James and Tracy Inglis, Lesley Diamond, Linda Cole, Laura Sewell, Joe Donnelly, Robert and Katherine Goodale, Marcia Urban, Dick Geyerman, Coral Simpson, Gisella Brodin, Brian E. Jones, Joseph D. O'Leary, Sara and Sidney Munshin, Linda Shapiro, John Sullivan, Kathleen Longo and Jay Pluimer, John and Roberta Scherf, Mark Westman and Christopher Duff, Florence Cobb, Julie Stroud, Unit I. Inc., Leonard Goldberg, Evelyn Struthers, Richard and Sandra Jacobson, Ruthena Fink, Mary Jo Peloquin, Judith Brin Ingber, Yanghua Wang and Wei Kan, John Burke and Heid Erdrich, Gerald and Catherine Fisher, Eileen Nelson, Sandra Wagner, Nicole Gallagher, Jack Balasa, Michael Watts, Colin Rusch, Dannell Dever, Amy Ouradnik, Madeline Burton, Robert and Angie Bormann-Bomier, John Roth, James Sewell, Kerry Johnson (napkins!), Peggy Seipp, John Roth, Jodi Lichter, Julia, Jack and Linda Hoeschler (matching grant for music production), JAMES SEWELL BALLET, and THE AMAZING SOUTHERN THEATER STAFF Free Space: (NYC) Power Play; Chelsea Piers; Bill Young/100 Grand; (Mpls) James Sewell Ballet
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