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| Mabou Mines to premiere Faust 2.0 in newly renovated East Village home | |
| Posted by: Official_Press_Release 10:44 am EST 02/25/19 | |
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| MABOU MINES PRESENTS THE WORLD PREMIERE OF FAUST 2.0 MARCH 27 – APRIL 14 AT THE LEGENDARY EXPERIMENTAL THEATER COMPANY’S NEWLY RENOVATED EAST VILLAGE HOME Sharon Ann Fogarty Directs Matthew Maguire’s Adaptation of Part II of Goethe’s Masterwork, Exploring Globalization, Economics, the Environment, and Gender Politics Mabou Mines, the world-renowned experimental theater company that celebrates its 50th anniversary in 2020,will stage the world premiere of Faust 2.0, March 27 – April 14, 2019, in the company’s newly renovated home at 122 Community Center (150 First Avenue). Adapted by Matthew Maguire, directed by Mabou Mines’ Producing Artistic Director Sharon Ann Fogarty, and developed by Mabou Mines over the course of five years, the production is a timely multimedia reimagining of Goethe’s Faust, Part II that follows Faust’s search for ultimate power on the global stage. Faust, widely considering the greatest work in German literature, is the latest in a long line of classic texts that Mabou Mines has revisited for our time, including Mines Lear, adapted from Shakespeare; Peter and Wendy, from JM Barrie’s novel; Finn, a digital/live action Celtic myth; and Mabou Mines DollHouse, which the company adapted from Ibsen’s original, and which toured the world to acclaim. The London Times, in a five-star review, wrote of it: “Ibsen will never be the same. Would that all classics could be so searchingly but lovingly re-examined.” In its award-winning production Dead End Kids, Mabou Mines used Faust, Part I as an allegory for man’s bargain with science resulting in the potential for nuclear holocaust. Faust 2.0 opens with Faust’s (Benton Greene) bargain with Mephistopheles (Paul Kandel). Once the deal is made, Faust finds himself as part of a corrupt and dysfunctional kingdom in the midst of various crises, and his journey results in war and ecological and social problems. Faust exemplifies the global plutocrat utilizing coercion to gain more profit. In the end, he is redeemed at the expense of progress, humanity, and society. Matthew Maguire’s script adapts Goethe’s massive text—230+ pages of dramatic poetry—to reflect the challenges of modern man, including the seeming inevitability of unintended consequences accompanying progress. The contemporary social and political parallels become more pronounced every day—Faust is everywhere. Faust 2.0 seeks to address the dangers of our current socio-political climate. The inspiration for Faust 2.0 comes in part from the 1980s Mabou Mines production Dead End Kids, which included a scene from Faust where he meets Mephistopheles for the first time and they make a deal. In that show, the Faustian bargain referred to the development of nuclear power and weapons and their capacity for effecting human extinction. Looking at Faust today in Faust 2.0, Maguire and Fogarty see another bargain stemming from the Enlightenment idea of Man as the center of the universe and the measure of all things. This self-regard of Western civilization became the only viable form for humanity which only few of the self-chosen were blessed. Faust 2.0 seeks to question the Faustian bargains we First-World individuals make, and to challenge the principles and systems that support this privilege. Like Dead End Kids, Faust 2.0 employs theatrical playfulness, satire, humor, and a rich multimedia production to explore these themes. Adapted by Matthew Maguire and directed by Sharon Ann Fogarty, Faust 2.0 features set and lighting design by Jim Clayburgh, video design by Jeff Sugg, costume design by Marsha Ginsburg, sound design by Fitz Patton, and original music by Eve Beglarian. Mabou Mines will announce the full cast soon. Faust 2.0 is part of the first full season in Mabou Mines’ newly renovated theater at the 122 Community Center (122CC) after a four-year, New York City-funded $35M renovation. The company developed the production in a workshop at Barnard College/Columbia University and in residencies at The Orchard Project and the Tyrone Guthrie Center in Ireland. Performance Schedule and Ticketing Performances of Faust 2.0 take place March 27 – April 14: Tuesdays-Saturdays at 8pm, and Sundays at 4pm. Tickets are $25 ($18 for students and senior) and can be purchased at https://maboumines.org. About the Artists Sharon Ann Fogarty (Director) has been a Co-Artistic Director of Mabou Mines since 1999. She wrote and directed Cara Lucia, an original music theater piece inspired by the life of James Joyce′s daughter. The production premiered at HERE Arts Center in NYC and was nominated for five American Theater Wing Design Awards. The production, re-conceived for touring as Lucia’s Chapters of Coming Forth by Day, was nominated for two Elliot Norton Awards (Boston) and received the Best Design Award from The 1stIrish Festival 2011 (NYC). In 2010, with collaborators playwright Jocelyn Clarke, composer Phil Cunningham, and the digital artists at Misha Films, Fogarty developed Finn, combining digital animation and live performance. Finn premiered at NYU Skirball Center for the Performing Arts. Previously Fogarty served as Artistic Director of the New York City-based Daedalus Theater Company and directed many of the company′s productions, including Sebastian Barry′s White Woman Street and Brighde Mullins′ Fire Eater. Additional productions she directed include Hippolytus, St. Joan of the Stockyard, Ubu Roi, Translations, Marat Sade, and Every Night Life. Fogarty was nominated for the CalArts/Alpert Award and awarded grants from the Irish Institute, The NEA, NYSCA, and Culture Ireland. As a producer she helped launch most of Mabou Mines’ work since 1994, including award-winning productions such as Belén – A Book of Hours and Song for New York, directed by Ruth Maleczech, and An Epidog, Ecco Porco, Red Beads, and Mabou Mines DollHouse, directed by Lee Breuer. Her teaching credits include her current position, Lecturer of Acting/Directing at Barnard College/Columbia University. Matthew Maguire (Adaptor) is a co-artistic director of Creation Production Company, with which he has produced more than 50 new works. His plays include Instinct, which premiered Off-Broadway at The Lion Theatre in 2012; Wild Man, which played in New York and Los Angeles in 2010; The Tower, Phaedra, Abandon, Skin, with architects Diller & Scofidio at the Palais des Beaux Arts in Brussels; and the creation with Philip Glass and Molissa Fenley of A Descent Into the Maelström for Australia's Adelaide Festival, among many others. A proud alumnus of New Dramatists, he has received fellowships from the National Endowment for the Arts, the McKnight and Hammerstein Foundations, New York Foundation for the Arts, and commissions from the NEA, NYSCA, and Meet the Composer. His most recently published book (NoPassport Press, 2009) is Matthew Maguire: Three Plays, which includes The Tower, Luscious Music, and The Desert. His awards include an Obie for Acting and an Obie for Directing. Jim Clayburgh (Set and Lighting Design) is one of the original members of The Wooster Group and was their resident designer from 1976 to 1995. His designs include The Hairy Ape, Finished Story, Emperor Jones and Brace Up. Prior to that there were the 3 sections of The Road to Immortality which include Route 1 & 9 (The last act) L.S.D . ( Just the high points ...) and Frank Dell's , The Temptation of St. Antony, Pt. Judith and the trilogy Three Places in Rhode Island. His work with them has included designs for about 80 venues in Europe, Asia and South America. Currently he collaborates with Johanne Saunier in the company Joji Inc., Mabou Mines, Cie Isabella Soupart and is on the faculty of the International School of Brussels in the Performing Arts Dept. Marsha Ginsberg (Costumes) Recent Theater: Nikolai And The Others, Mitzi Newhouse, LCT; Elfriede Jelinek’s Jackie (Women’s Project); Smokefall (South Coast Rep); Red Dog Howls (NYTW), David Levine’s Habit (PS122/FIAF at Essex Street Market/Luminato Festival, Mass MOCA), Our Class (Wilma Theater), Er Nichts Als Er, (Meetfactory, Prague), Map Of Virtue (13P), Blue Flower (ART/Elliot Norton Design Award), Telephone (Foundry Theater), Kafeneion (Epidaurus Festival/Athens). Recent Opera: Powder Her Face (New York City Opera/BAM); Phaeton (Saarlandisches Staatstheater); The Methusalem Projekt (Nationaltheater/Weimar); Ariadne Auf Naxos (Opera National de Bordeaux); It Happens Like This (Guggenheim, Tanglewood Music Center); Wolfgang Rihm’s Proserpina (US premiere/Spoleto Festival). Macdowell Colony Residencies; NEA/TCG Design Fellowship. Ed: Cooper Union; Whitney Museum ISP, NYU, Tisch. Jeff Sugg (Video Design) is a New York-based artist and projection designer. He was a co-founding member of the performance group, Accinosco, with Cynthia Hopkins and Jim Findlay, and has co-designed the critically acclaimed Accidental Trilogy: Accidental Nostalgia, Must Don’t Whip ‘Um, and The Success of Failure (or, the Failure of Success). Sugg’s other theater designs include Macbeth (Broadway, LCT), A Time To Kill (Broadway), Secondhand Lions (5th Avenue Theatre, Seattle), Bring It On: The Musical (Broadway), 33 Variations (Broadway), The Slugbearers of Kayrol Island (co-set & projections: The Vineyard Theater),¡El Conquistador! (lights: New York Theater Workshop), The Thomashefsky Project & Let Them Eat Cake/Of Thee I Sing (San Francisco Symphony), Trece Días (sets & projections: San Francisco Mime Troupe) He has also worked as designer for multiple works with theater companies including: The Collapsable Giraffe, Pig Iron Theater Company, DASS Dance, Transmission Projects. Music design: Natalie Cole (lights), and Natalie Merchant (lights). Sugg received a 2007 Bessie Award and was nominated for a two 2007 Hewes Design Awards. He was also nominated for a 2007 Hewes Design Award and 2008 Henry Hewes Award, 2008 Obie, and a 2008 Lucille Lortel Award. He was also nominated for a Drama Desk Award. Fitz Patton (Sound Design) Broadway: Choir Boys (Current), Little Foxes, The Humans, Blackbird, It’s Only a Play, An Act of God, Airline Highway, The Other Place, I’ll Eat You Last, Outside Mullingar, Casa Valentina, The House of Blue Leaves, Brighton Beach Memoirs, Broadway Bound. Off-Broadway: Yen, Napoli Brooklyn. 2010 Lucille Lortel and Drama Desk Awards for When the Rain Stops Falling (LCT) and 2016 Drama Desk for The Humans. He is the founding editor of Chance Magazine, a serialized art book on theater and design. Eve Beglarian (Composer) is a composer and performer. Her chamber, choral, and orchestral music has been commissioned by the Los Angeles Master Chorale, the American Composers Orchestra, the Bang on a Can All-Stars, the Chamber Music Society of Lincoln Center, the California EAR Unit, the Orchestra of St. Luke’s, Sequitur, the Guidonian Hand, Newspeak, the Ekmeles Vocal Ensemble as well as Maya Beiser, Sarah Cahill, Lauren Flanigan, Marya Martin, and Mary Rowell. Awards: 2017 Herb Alpert Award and 2015 Foundation for Contemporary Arts Robert Rauschenberg Award. Music/theater: Mabou Mines’ Obie-winning Mabou Mines Dollhouse, Animal Magnetism, Ecco Porco, Choephorai, and Shalom Shanghai, all directed by Lee Breuer; Forgiveness with Chen Shi-Zheng and Noh master Akira Matsui; The Bacchae at China National Beijing Opera. Performance: Brim, Songs from a Book of Days, The Story of B, Open Secrets, Hildegurls’ Ordo Virtutum, twisted tutu, and typOpera. Paul Kandel (Mephistopheles) frightened audiences as the Master of Ceremonies in the Off-Broadway production of Shockheaded Peter. His Broadway credits include: King Herod in the revival of Jesus Christ Superstar; Uncle Ernie in The Who’s Tommy, a role he created at La Jolla Playhouse and for which he received a Tony nomination for Best Featured Actor in a musical; J.Bruce Ismay in the Broadway production of Titanic;and Jacob Marley in A Christmas Carol. Other Broadway credits include The Visit with Jane Alexander and Harris Yulin; and Jake Melrose in the pre-Broadway workshop of Jelly’s Last Jam. He appeared as Kabe in One Flea Spare (OBIE Award, Best Play, at NYSF). Television appearances include: Sally Hemmings: An American Scandal (CBS Miniseries); The Client, Fool’s Fire (American Playhouse); Law and Order. Other Off-Broadway: Silence (NY Fringe Festival) Lucia Chapters of Coming Forth by Day (Mabou Mines) Earth and Sky (Second Stage); 20 Fingers, 20 Toes (WPA); Lucky Stiff (Playwrights Horizons); Taming of the Shrew (TNA); Scrambled Feet, Nightclub Cantana, Two Grown Men (Village Gate); Fanny opposite Jose Ferrer (PaperMill Playhouse). Paul can be “seen” as Clopin in Disney’s animated feature Hunchback of Notre Dame, a role he reprised in Hunchback Part Deux. Benton Greene (Faust) Broadway: Sweat (u/s). New York Theater: The Seven and 365 Days/365 Plays (New York Theatre Workshop), Dream On Monkey Mountain (Classical Theater of Harlem), Sex On Sunday by Chisa Hutchinson, Manilova (New Georges Theatre). Regional: Sweat (Public Theater), Father Comes Home From The Wars (American Repertory Theater/Public Theater) , Art (Westport Country Playhouse), The Seven (La Jolla Playhouse), This Is How It Goes (The Studio Theatre), Enrico IV (American Conservatory Theatre), Soldier’s Heart (Premiere Stages), Bomb-itty Of Errors, References To Salvador Dali , Comedy Of Errors, Cyrano, Romeo& Juliet, Two Gentlemen Of Verona, Funnyhouse Of A Negro. Film: Broken City, Last Night, Search Party. TV: “The Following”, “Law & Order: SVU”, “Blue Bloods”, “White Collar”, “Damages”, “Law & Order: CI”, “Law & Order”. Awards: Best Supporting Actor (Indie Capitol Awards) About Mabou Mines Mabou Mines is an artist-driven experimental theater collective generating original works and re-imagined adaptations of classics. Work is created through multi-disciplinary, technologically inventive collaborations among its members and a wide world of contemporary filmmakers, composers, writers, musicians, choreographers, puppeteers and visual artists. Mabou Mines fosters the next generation of artists through mentorship and residencies. The current Company includes four Artistic Directors: Founding Artistic Director Lee Breuer and co-Artistic Directors Sharon Ann Fogarty, Karen Kandel and Terry O’Reilly; Artistic Associates: Maude Mitchell, Clove Galilee, David Neumann and Carl Hancock Rux; and a far-reaching network of collaborators. Funding Credits Faust 2.0 is supported in part by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council, New York State Council on the Arts, the National Endowment for the Arts, and the Axe-Houghton Foundation. |
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