#Emily Curro

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REVIEW: "Yellow" at Troy Foundry Theatre

REVIEW: “Yellow” at Troy Foundry Theatre

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Make Room is pleased to present Blossoming Carcass, an exhibition of new works by artist duo ASMA. The exhibition extends the duo’s experimental, sensational, and embodied exploration of how objects enter into a conversation with the world they inhabit. Blossoming Carcass features a series of sculptures, paintings, and installations in the metaphor of an exoskeleton. Echoing a fantastical language, this process of molting as a poetic transformation speaks to the human experiences of letting go, mourning, and reviving: a process similar to that of the insect leaving its pupal body to grow larger. The artists’ collaborative practice enables the coexistence of differences. In this new body of works, an imaginary space connects a series of compelling personal narratives of death and love. Both the imaginary and the real elements merge in material and figurative manners, transforming them into a third space—a poem about a blossoming carcass as a continuation of life after death. In this abandoned place, growth continues, and the vestiges of a previous natural life mutate into new forms. A long, gray creature extends across the gallery space like a snake rising with its mouth open. It emerges from far back, through a small, fenced window that connects two different areas. Behind this window, there is a room with a sand-covered floor, where the other end of the gray creature originates, lying on top of the sand and thus inhabiting both spaces. A flowerlike pendulum hangs in the center of the sand room, moving subtly and leaving its marks on the sand. The pendulum sculpture is cast in bronze, shaped like a flat drawing. Tea leaves are suspended in its resin, mimicking a stained-glass ornament, and it holds a rolled-up green leaf in a pocket at its center. Like an abstract form of a sand clock, the sculpture becomes a scribe of its own movement on the impermanent sand surface. The sculpture also functions as a container, holding leaves at different stages of their decay, generating a process of cultivation. In the corner of the room, a dark, organically-shaped bowl contains murky water with aquatic mosses and an organism-like figure at the bottom, appearing through the sediment. Blossoming Carcass narrates the story of a living skeleton-keeper and her relationship with the creatures in her care. Fragments of this narrative are combined with a material interplay that oscillates between sculptural and painted qualities. In this conjunction, the exoskeleton is an exchange between the structure and the surface, a coexistence of two states. A delicate feeling of otherness comes from within, evoking a familiar sensation linked with the similar human capacity for transformation. The process of molting is taking place slowly, and its remnants occupy the space in an apparent stillness.

About ASMA ASMA is an artist duo formed by the Ecuadorian artist Matias Armendaris (b. 1990) and the Mexican artist Hanya Belia (b. 1994) based in Mexico City, with an interest in fusing opposites, seeking plurality of understanding. A widening breadth of possible readings supports a de-hierarchization of interpretations, therefore generating a diverse knowledge. The artists focus on developing work produced exclusively through active collaboration, in the way that a Venn diagram illustrates—the collision of two different universes that generates an intersectional area of exchange and syncretism. It emerges in this thin membrane which separates two things, a third living space that integrates them. ASMA inhabits this space actively in the production process, where there is a constant practice of democracy, difference, and mutability. The duo has exhibited internationally including The Chicago Artist Coalition (USA), Galería Sankovsky (São Paulo),The Gallery-Museum of Lendava (Slovenia), Centro de Arte Contemporaneo de Quito (Ecuador), XIV Bienal de Cuenca (Ecuador), Mx Gallery (NY, USA), Diablo Rosso Gallery (Panamá), Galería CURRO (México), Access Gallery (Canadá), Museo de la Ciudad de Querétaro (México). They received the Premio Brasil Awards to do a Residency at Pivô Arte e Pesquisa in São Paulo. The duo has participated in various international Art Fairs including ArtLima (Perú), Material Art Fair (México) Zona MACO (México) ArteBA (Argentina), Artissima (Italy) and CHACO (Chile) where they received the Coleccion CASA award to the best booth in the emerging section. They both received an MFA in the Painting and Drawing Department from the School of the Art Institute of Chicago with a full merit scholarship (The New Artist Scholarship Award). Armendaris holds a BFA in drawing and printmaking from Emily Carr University with both an entrance merit scholarship and The Christopher Foundation Scholarship, and Belia holds a BFA in Visual Arts from the Facultad de Artes y Diseño de la Universidad Autónoma de México (FAD – UNAM). They are recently nominated for the Cisneros Fontanals Art Foundation (CIFO) Grants and Commissions Program, 2020. This is ASMA’s first exhibition with Make Room Los Angeles.

About Make Room Make Room is a contemporary art gallery in Los Angeles founded by Emilia Yin and Liaoyuan Huang in January 2018. The gallery presents a diverse program of artists through concept-oriented and space-based experimental practices in a variety of media. With the sister gallery Beijing Art Now in China, Make Room presents the Los Angeles debut of emerging and mid-career international artists.

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Compositores

Giya Kancheli, Christopher Rouse, Michel Legrand, Hans Zender, Dominick Argento , Jacques Loussier, Joao Gilberto, Theo Verbey, Ivo Malec, Mario Davidovsky, Barrington Pheloung, Ben Johnston, Michael Colgrass, Schaeffer, Sven-David Sandström, Ami Maayani, John Joubert, Chou Wen-chung, Ib Norholm, René Samson, Jerry Herman, Jean Chatillon, Alfred Kunz, Thanos Mikroutsikos, Heinz Winbeck, Atli Sveinsson, Frantisek Thuri, Ivan Erob, Gagik Hovunts, Gerhson Kingsley, Thanos Mikroutsikos, Joan Guinjoan, Enrique Iturriaga.

  Directores

Maris Janssons, Andre Previn, Raymond Leppard, Jerzy Semkow, Stephen Cleobury, Michael Gielen, Simon Streatfeild, Elio Boncompagni, Werner Andreas Albert, Ján Valach, John Curro, Colin Mawby, Jacques Grimbert, Jean Perisson, Radomil Eliska, Laszlo Heltay, Reto Parolari.

  Pianistas: Jörg Demus, Paul Badura-Skoda. Dina Ugorskaja, Daniel Wayenberg, Alexander Tamir, Karen Shaw, Paola Bruni, Márta Kurtág, Dalton Baldwin, Abbey Simon, Ethella Chupryk,

Instrumentistas

Aaron Rosand, Elliot Golub, Marya Columbia, Christian Stadelmann, Jerry Horner, Yossi Gutmann, Uzi Wiesel, Vladimir Orloff, Vagram Saradjian, Anner Bylsma, Michael Grebanier, Susanne Beer, Jean Guillou, Peter Hurford, Peter Noy, Robert Kohnen, Gerd Seiffert, Richard Weiner, Norman Schweikert, Wolfgang Meyer, Alberto Ponce.

Cantantes

Jessye Norman, Hilde Zadek, Heather Harper, Rolando Panerai, Ekkehard Wlaschiha, Erika Sziklay, Margit Laszlo, Charity Sunshine Tillemann-Dick, Marcello Giordani, Felice Schiavi, Joseph Rouleau, Mira Zakai, Spiro Malas, Deborah Cook, Sanford Sylvan, Wilma Lipp, Francisco Casanova, Ann Crumb, Peter Schreier, Theo Adam, Ruth Margaret Putz, Gerald English, Grayston Burgess, Colette Lorand, Joseph Ward, Yang Yang, Helmut Froschauer, Rosemary Kuhlmann, Umberto Grilli, James Christiansen, Miguel Sierra, Art Sullivan, Alle Willis, Patxi Andión, Charlie Karp, Yann Fanch Kemener, Bob Wilber, Camilo Sesto, Eric Morena, Marie Laforet, Dick Rivers, Diahann Carroll, Alain Barriere, Marie Fredriksson.

  Directores de escena, cineastas, coreografos, etc:

  Jonathan Miller, Johannes Schaaf, Hal Prince, Franco Zeffirelli, Agnes Varda, Pieter Verhoeff, Alex Weil, Jean Claude Brisseau, Eva Kleinitz, Knut Andersen, Ennio Guarnieri, Sebastián Alarcón, Pierre Lhomme, Jukka Virtanen, Guido Levi, Alicia Alonso, Julia Farron, Stanley Donen.

  Empresarios, Musicólogos,Críticos Musicales

  Victor Hochhauser, Walter Homburger, Naomi Graffman, Peter Noy, Laura Liepins, Paul J Pelkonen, Claude Gingras, Robert Henderson, Roger Covell, Martin Bernheimer, Ferdinando Bologna, Peter Gammond, Vivian Perlis, Clive James, John Simon, Alejandro Planchart, Ferenc Bonis, Scott Timberg.

  Cine y teatro

  Bruno Ganz, Valentina Cortese, Bibi Andersson, Rutger Hauer, Peter Fonda, Sue Lyon, Anna Karina, Doris Day, Carol Channing, Albert Finney, Carol Lynley, Claudine Auger, Rip Torn, Valery Harper, Sylvia Miles, Tim Conway, Danny Aiello, Anemone, Lee Radziwill, Cameron Boyce, Katherine Helmond, Bruno Scipioni, Sylvia Kay, Peter Zander, Seymur Cassel, Muriel Pavlow, Julie Adams, John Rone, Mario Bernardo, Susan Harrison, Vladimir Etush, Wenche Kvamme, Richard Erdmann, Tom Hatten, Eduardo De Santis, Jospeh Pilato, Alessandra Panaro, Irene Sutcliffe, Barbara Perry, Jane Hayward, Lis Verhoeven, Nancy Holloway, Wendy Williams.

  Artes Visuales, Letras, diseñadores, etc.

Carlos Cruz-Diez, Peter Larkin, Emily Mason, Imre Varga, Gerd Jaeger, Luca Alinari, Michael Lyons, Mavis Pusey, Rafael Coronel, Kate Nicholson, Armando Salas, Eduardo Meissner, Gloria Zea, Toni Morrison, I.M. Pei, Karl Lagerfeld, Gloria Vanderbilt, Emanuel Ungaro, Piero Tosi, Verena Wagner-Lafferentz, Christopher ‘Kiffer’ Finzi.

  Argentina

Adelaida Negri, Jorge Pérez Tedesco, Cesar Pelli, Osvaldo Romberg, José Martínez Suarez, Eduardo Rovner, Alberto Cortez, Isabel Sarli, Andrew Graham-Yool, Mónica Galán, Ricardo Monti, Graciela Araujo, Leopoldo Brizuela, Analia Gade, Lorenzo Quinteros, Osvaldo Brandi, Santiago Bal, Thelma Tixou, Christian Bach, Beatriz Taibo, Amelita Vargas, Silvia Montanari, Patricia Shaw,  Narciso Ibañez Serrador, Lucho Avilés, Beatriz Salomon, Rodolfo Zapata, Fabio Zerpa, Cacho Castaña, Hugo Gambini, Roberto Livi, Juan Martini, Silvina Bosco, Luz Kerz, Roberto Yanés, Guillermo Cervantes Luro, Max Berliner, Malena Marechal, Antonio Caride.

Los Adioses 2019 Compositores Giya Kancheli, Christopher Rouse, Michel Legrand, Hans Zender, Dominick Argento , Jacques Loussier, Joao Gilberto, Theo Verbey, Ivo Malec, Mario Davidovsky, Barrington Pheloung, Ben Johnston, Michael Colgrass, Schaeffer, Sven-David Sandström, Ami Maayani, John Joubert, Chou Wen-chung, Ib Norholm, René Samson, Jerry Herman, Jean Chatillon, Alfred Kunz, Thanos Mikroutsikos, Heinz Winbeck, Atli Sveinsson, Frantisek Thuri, Ivan Erob, Gagik Hovunts, Gerhson Kingsley, Thanos Mikroutsikos, Joan Guinjoan, Enrique Iturriaga.

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Listado completo de nominados a la 32 edición de los Premios Goya

Madrid, 13 dic (EFE).- "Handia" de Aitor Arregi y Jon Garaño, con 13 nominaciones, y "La librería", de Isabel Coixet, con doce, encabezan la lista de las favoritas para la 32 edición de los Premios Goya, que se entregarán el próximo 3 de febrero. Este es el listado completo de nominados seleccionadas entre los 130 largometrajes a competición. MEJOR PELÍCULA - "El autor". - "Verano 1993". - "Handia". - "La librería". - "Verónica". MEJOR DIRECCIÓN - Manuel Martín Cuenca, por "El autor". - Aitor Arregi y Jon Garaño, por "Handia". - Isabel Coixet, por "La librería". - Paco Plaza, por "Verónica". MEJOR DIRECCIÓN NOVEL - Sergio G. Sánchez, por "El secreto de Marrowbone". - Carla Simón, por "Verano 1993". - Javier Ambrossi y Javier Calvo, por "La llamada". - Lino Escalera, por "No sé decir adiós". MEJOR GUION ORIGINAL - Pablo Berger, por "Abracadabra". - Carla Simón, por "Verano 1993". - Aitor Arregi, Andoni de Carlos, Jon Garaño y Jose Mari Goneaga, por "Handia". - Fernando Navarro y Paco Plaza, por "Verónica". MEJOR GUION ADAPTADO - Javier Ambrossi y Javier Calvo, por "La llamada". - Alejandro Hernández y Manuel Martín Cuenca, por "El autor". - Agustí Villaronga y Coral Cruz, por "Incierta gloria". - Isabel Coixet, por "La librería". MEJOR ACTOR PROTAGONISTA - Antonio de la Torre, por "Abracadabra". - Javier Gutiérrez, por "El autor". - Javier Bardem, por "Loving Pablo". - Andrés Gertrúdix, por "Morir". MEJOR ACTRIZ PROTAGONISTA - Maribel Verdú, por "Abracadadra". - Emily Mortimer, por "La librería". - Penélope Cruz, por "Loving Pablo". - Nathalie Poza, por "No sé decir adiós". MEJOR ACTOR DE REPARTO: - José Mota, por "Abracadabra". - Antonio de la Torre, por "El autor". - David Verdaguer, por "Verano 1993". - Bill Nighy, por "La librería". MEJOR ACTRIZ DE REPARTO - Adelfa Calvo, por "El autor". - Anna Castillo, por "La llamada". - Belén Cuesta, por "La llamada". - Lola Dueñas, por "No sé decir adiós". ACTOR REVELACIÓN - Pol Monen, por "Amar". - Eneko Sagardoy, por "Handia". - Eloi Costa, por "Pieles". - Santiago Alverú, por "Selfie". ACTRIZ REVELACIÓN - Adriana Paz, por "El autor". - Bruna Cusí, por "Verano 1993". - Itziar Castro, por "Pieles". - Sandra Escacena, por "Verónica". MEJOR PELÍCULA IBEROAMERICANA - "Amazona", de Clare Weiskopf y Nicolás van Hemelryck (COLOMBIA). - "Tempestad", de Tatiana Huezo (MÉXICO). - "Una mujer fantástica", de Sebastián Lelio (CHILE) - "Zama", de Lucrecia Martel (ARGENTINA). MEJOR PELÍCULA EUROPEA - "C'est la vie!", de Eric Toledano, Olivier Nakache (FRANCIA). - "Lady Macbeth", de William Oldroyd (REINO UNIDO). - "The Square", de Rubén Óstlund (SUECIA). - "Toni Erdmann", de Maren Ade (ALEMANIA). MEJOR PELÍCULA DOCUMENTAL - "Cantábrico, los dominios del oso pardo". - "Dancing Beethoven". - "Muchos hijos, un mono y un castillo". - "Saura(s)". MEJOR PELÍCULA DE ANIMACIÓN - "Deep". - "Nur eta Herensugearen tenplua". - "Tadeo Jones 2. El secreto del Rey Midas". MEJOR MONTAJE - David Gallart, por "Abracadabra". - Ana Pfaff y Didac Palou, por "Verano 1993". - Laurent Dufreche y Raúl López, por "Handia". - Bernat Aragonés, por "La librería". MEJOR DIRECCIÓN DE FOTOGRAFÍA - Santiago Racaj, por "Verano 1993". - Javier Agirre Erauso, por "Handia". - Jean Claude Larrieu, por "La librería". - Paco Femenía, por "Oro". MEJOR MÚSICA ORIGINAL - Pascal Gaigne, por "Handia". - Alberto Iglesias, por "La cordillera". - Alfonso de Vilallonga, por "La librería". - Eugenio Mira, por "Verónica". MEJOR CANCIÓN ORIGINAL - "Algunas veces", de José Luis Perales ("El autor"). - "Feeling Lonely on a Sunday Afternoon", de Alfonso de Vilallonga ("La librería"). - "La llamada", de José Miguel Conejo Torres (Leiva) ("La llamada"). - "Rap Zona Hostil", de Roque Baños ("Zona hostil"). MEJOR DIRECCIÓN ARTÍSTICA - Alain Bainée, por "Abracadabra". - Mikel Serrano, por "Handia". - Lloreng Miquel, por "La librería". - Javier Fernández, por "Oro". MEJOR DISEÑO DE VESTUARIO - Paco Delgado, por "Abracadabra". - Saioa Lara, por "Handia". - Mercé Paloma, por "La librería". - Tatiana Hernández, por "Oro". MAQUILLAJE Y/O PELUQUERÍA - Sylvie Imbert y Paco Rodríguez, por "Abracadabra". - Ainhoa Eskisabel, Olga Cruz y Gorka Aguirre, por "Handia". - Eli Adánez, Sergio Pérez Berbel y Pedro de Diego, por "Oro". - Lola Gómez, Jesús Gil, Óscar del Monte, por "Pieles". MEJOR SONIDO - Daniel de Zayas, Pelayo Gutiérrez y Alberto Ovejero, por "El autor". - Sergio Bürmann, David Rodríguez y Nicolás de Poulpiquet, por "El bar". - Iñaki Diez y Xanli Salvador, por "Handia". - Altor Berenguer, Gabriel Gutiérrez y Nicolás de Poulpiquet, por "Verónica". MEJOR DIRECCIÓN DE PRODUCCIÓN - Mireia Graell Vivancos, por "Verano 1993". - Ander Sistiaga, por "Handia". - Alex Boyd y Jordi Berenguer, por "La librería". - Luis Fernández Lago, por "Oro". MEJORES EFECTOS ESPECIALES - Jon Serrano y David Heras, por "Handia". - Reyes Abades y Isidro Jiménez, por "Oro". - Raúl Romanillos y David Heras, por "Verónica". - Reyes Abades y Curro Muñoz, por "Zona hostil" MEJOR CORTOMETRAJE DE FICCIÓN - "Australia", de Lino Escalera. - "Baraka", de Néstor Ruiz Medina. - "Como yo te amo", de Fernando García-Ruiz. - "Extraños en la carretera", de Carlos Solano. - "Madre", de Rodrigo Sorogoyen. MEJOR CORTOMETRAJE DOCUMENTAL - "Los desheredados", de Laura Ferrés. - "Primavera rosa en México", de Mario de la Torre. - "The Fourth Kingdom", de Adán Aliaga y Alex Lora. - "Tribus de la Inquisición", de Mabel Lozano. MEJOR CORTOMETRAJE DE ANIMACIÓN - "Colores", de Arly Jones y Sami Natsheh. - "El ermitaño", de Raúl Diez. - "Un día en el parque", de Diego Porral. - "Woody & Woody", de Jaume Carrió. EFE

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Troy Foundry Theatre Announces Cast for “Yellow” Troy, NY –  It's the middle of the night. You have a dream.  It is beautiful. It is terrifying.

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by Roseann Cane

As you enter the Trojan Hotel, the bar and ballroom of which date from 1830, the immersion begins. The hotel, abandoned for decades, has been restored by members of the Troy Foundry Theatre and the cast and crew of Yellow, a world premiere devised work, a commission with Die-Cast, directed by Brenna Geffers, inspired by Victorian-era horror stories, most notably “The Yellow Wallpaper” by Charlotte Perkins Gilman.

  After the tickets have been distributed and curtain time is drawing near, the pleasant man behind the desk calls for our attention, announcing what we’re used to hearing in curtain speeches, describing the locations of various exits and restrooms. He also provides some directives.

  We are instructed not to touch the actors.

  We are informed that some actors may guide us into different rooms.

  We are advised to wander into other rooms when we feel the impulse, or when we hear something that draws our attention.

  The bar, we are told, will be open throughout the play.

  The Troy Foundry Theatre has earned attention as well as kudos since its formation about two or three years ago by presenting an unorthodox kind of theater. Each of their productions happens at a different site, and the audience’s suspension of disbelief so crucial to the experience of theater shapeshifts. The company promotes immersive, site-specific experiences. You don’t sit in a chair facing a stage in order to observe. You are part of the action.

  As the show began we were summoned from the bar into a large room, most likely the original ballroom of the Trojan Hotel, where the cast clustered in front of us, speaking in unison, then simultaneously uttering different words, moving, making odd chuffing noises. The cluster soon scattered, and that is when I felt a firm, gentle hand on my shoulder: I was being led by an actor who I would later learn was called The Invalid (Andrew Carroll). We entered a small room dominated by a bathtub. The Invalid, clad in shabby pants, spoke with urgency as he climbed into the tub, his voice fueled by an oddly fearful intensity. He seemed focused on convincing me of…what? Something about his mother, some series of events that he was compelled to relay, with rapidfire muttering as his body squirmed and undulated. The Invalid was mad. I knew I was in an asylum. Another actor, The King (Jahzeer Terrell), well groomed and nattily dressed, joined us. He was by all appearances “normal,” but his behavior, climbing into the tub with The Invalid, pulling at him, then moving in tandem, then splitting apart, was anything but normal. Were both men mad?

  I ventured into other rooms, where other men and women shared their own strange, compelling stories. Each actor was remarkably flexible, physically and verbally, and each story was laced with leaping or crawling, dancing or singing. The entire cast inhabited their roles completely and individually, and would come together to create a searingly strong ensemble. At times they seemed to move as a singular organism.

  As I aimed to observe what was happening in various rooms, in time I realized the actors were repeating monologues, dialogues, songs, and sounds. Yellow revealed to me that it was not a linear play. All of the action in each of the rooms is happening simultaneously.

  It was only after the play ended that we received programs. That felt entirely in line with the immersive experience. We had to receive and observe the individuals as they showed themselves, without preconceptions formed by knowing about the actor.

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Unfortunately, the Trojan Hotel is not wheelchair accessible. We had been informed before the play that the floors were somewhat warped and uneven; during the 90 or so minutes, anyone who has difficulty walking or standing for long periods of time might find him/herself uncomfortable scurrying to observe what is happening in each of the rooms. However, several of the rooms have chairs and sofas, and audience members can pretty much wander and sit as they please.

  The profoundly immersive experience that is Yellow may not be to everyone’s liking because of the demands it makes on its audience. Please note that the play is not appropriate for children. I applaud Troy Foundry Theatre’s successful mission to create theater that is provocative and immersive, interweaving artists of different disciplines, and I would strongly encourage theater lovers to wander through this very different artistic adventure. 

Yellow Directed by Brenna Geffers A world premiere devised work, a commission with Die-Cast.

Cast (In Alphabetical Order) *  Member of Actors’ Equity Association

Ross Beschler* Ethan Botwick* Andrew Carroll Niya Cobert Colleen Corcoran Anthony Crosby Emily Curro David Girard* Raya Malcolm Meg Rumsey-Lasersohn Jahzeer Terrell

Performances October 30-November 1 and November 7 & 8 at 8 pm, November 2 & 9 at 7 & 9 pm at  The Trojan Hotel, 41-43 3rd St. Troy, NY 12180. To purchase tickets please visit https://yellowtft.brownpapertickets.com Cash or check only at the door. Tickets: $10 – Students // $15 – Seniors // $18 – Adults

REVIEW: “Yellow” at Troy Foundry Theatre by Roseann Cane As you enter the Trojan Hotel, the bar and ballroom of which date from 1830, the immersion begins.

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Troy Foundry Theatre to Participate in Elizabeth Murray Artist Residency by Collar Works

Troy Foundry Theatre to Participate in Elizabeth Murray Artist Residency by Collar Works

Troy, NY –  Troy Foundry Theatre has been selected to participate in the prestigious Elizabeth Murray Artist Residency by Collar Works in August of 2019.  Troy Foundry Theatre, along with producing and creation partner Die-Cast of Philadelphia, will be the first theatre companies in the country participating in the Murray residency, which up to this point has focused on supporting visual artists.…