Writers from Wonder Con 2015

I had a very limited budget for WonderCon this year (as in, gas and food), and in a way, that caused me to spend more time looking at the art and not just at stuff to buy.

Here is part 1 of my WonderCon adventures: the writers who I want to read soon (* designates for children as well).

If I found them on Twitter, I added to a List: Artists I Really Dig

Each title links to their main website.

 

Llyn Hunter’s Place (Bobcat Publishing)

*specifically for A Little Book of Monsters and A Little Book of Magical Beings

 

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I liked the artist so much, that I took a photo of her postcard to ensure I didn’t lose it.

M.F.K Comic by* Nilah Magruder

In the country of Rojardin, super-powered psychics are given a choice:

  • Use their powers to serve the government,
  • Become lawless rogues, or
  • Renounce their abilities and live as normal citizens.

Abbie is trying to do the latter, she’s not exactly subtle.

 

*Under the Cottonwood Tree: El Susto de la Curandera

A New Mexican folktale graphic novel

 

Knightingail a fantasy-adventure comic book

 

*Monster Elementary

an all ages, comedy adventure graphic novel

When the FBI closes Desmodus, Lukos, Francesca, Rags and Gilda’s monsters-only school, they are forced by their parents to attend a public school to continue their education.  Now, they must try to fool their classmates and faculty all while navigating the horrors of growing up!

 

Sombulus by C. Major

humorous fantasy adventure in the spirit of Discworld and style of a shounen manga

Sombulus banner

 

*Little Vampires by Rebecca Hicks

Adorable webcomic

Zombie Ranch by Dawn Wolf & Clint Wolf

A Tale of a Weird New West; webcomic that updates every Wednesday

Dream Walker by Jenni Gregory

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They ran out of cards by Sunday, so I only got a photo: Karen Brinson is a dreamwalker, moving effortlessly through the dreamscapes of family, friends, and even total strangers. No secret is safe, no subconscious thought can be hidden from her. (Click photo for link)

Directors Lab West applications due March 6

I used to be on their Steering Committee and it’s a great opportunity for Stage Directors and Choreographers:
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Presenting The 16th Annual

Directors Lab West
in association with the Pasadena Playhouse,
and the Stage Directors & Choreographers Society

Directors Lab West brings together dedicated emerging and mid-career theatre directors and choreographers with master artists for an eight-day long intensive Saturday, May 23 through Saturday, May 30, 2015, enabling them to inspire each other to dream and create the future of American Theatre.
 
The deadline to submit the application is Friday, March 6, 2015 at 5 pm PST.

Apply online now at directorslabwest.com.

+ + +

What is Directors Lab West?
The Lab is a week-long summer intensive for stage directors and choreographers. Part conference, part workshop, part focused discussion, all theatre, all directing and all fun! The wellspring of the Lab is to provide a place for directors to meet and exchange ideas.

When is Directors Lab West
May 23 to May 30, 2015 with events scheduled from 10 am until 10 pm that you won’t want to miss.

Where is Directors Lab West?  
For the majority of the years of Directors Lab West, The Pasadena Playhouse in the historic California State Theatre has been and continues to be our dedicated and supportive partner, but we also hold sessions at a variety of theaters in and around Los Angeles.

Who can attend Directors Lab West?  
By application only, the Lab is open to directors and choreographers committed to the art and creation of theatre. (Note: The Lab is not open to students or those planning to return to school. It is designed for emerging directors who are working professionals, who have finished their studies. And studies are not required—many Lab directors are working directors who have never gone to college.)

Who has presented at Directors Lab West?  
The list is long, but here is a sampling… Sheldon Epps (Pasadena Playhouse), Des MacAnuff (La Jolla Playhouse), Michael Ritchie (Center Theatre Group), Anne Cattaneo (Lincoln Center Theater), Jack O’Brien (The Old  Globe), Martin Benson (South Coast Rep), Tim Dang (East West Players), David Ira Goldstein (Arizona Theatre Company), Andrew Barnicle (Laguna Playhouse), Erik Ehn (CalArts), Stephen Wadsworth (Director), John Bowab (Director), Kay Cole (Choreographer), David Lee (Director), Mark Medoff (Playwright), Randy Newman (Composer), Jose Rivera (Playwright), George Furth (Playwright), Richard Thomas (Actor), Eddie Levi Lee (Actor/Playwright), Charlayne Woodard (Actor/Playwright), Tonya Pinkins (Actor), Henry Winkler (Actor), Ming Cho Lee (Scenic Designer), plus many more.

How much does Directors Lab West cost?  
Participation in the Lab is FREE thanks to the generous support of the Stage Directors & Choreographers Society, partners like the Pasadena Playhouse and all the artists, who donate their time and share their talents each year’s Lab participants.

How do I apply for Directors Lab West?  
Apply online at directorslabwest.com.

When Do I Apply for Directors Lab West
Now! Applications must be received by March 6, 2015 at 5:00 pm.

Have additional questions about Directors Lab West?  
Email us at info@directorslabwest.com

Relevance & Empathy: Ligature Marks at Theatre Unleashed

I always consider my experience with art in terms of Relevance & Empathy, two words that are thrown around culture but rarely examined in detail.

“I feel like you had to be there.”

That is how my husband describes his non-emotional reaction to Andy Warhol. He understands Warhol’s place in art history and why he was revolutionary at the time, but he doesn’t feel anything when faced with Campbell’s Soup paintings.

That’s my reaction to a lot of classical plays, and even recent writers like Stoppard and Sam Shepard. I appreciate and enjoy them; often my brain is stimulated. I just rarely feel much that applies to my life at that very moment, or my future. (There are a handful of exceptions, as always, but I can only think of one, and it’s a film.)

New plays, especially ones that are set in an apartment, often miss the mark with me as well.

I want to be rattled by a play. I want to leave thinking about my life, my neighbor’s life, my cousin in Boston’s life, my son’s life, my boss’s life…..in a new play or adaptation, I want to leave with a perspective I did not have before entering the theater. I want to think more deeply about people and the world and how we all affect each other. I want to spend an evening in a way that directly affects my decision making in the future. Not that there’s anything wrong with a good old escapist comedy or anything; I like those too. I personally don’t see them as often.

With the very recent exception of E.M. Lewis’s The Gun Show, I haven’t felt simultaneously thrilled, revolted, and moved in…..years?

Mac Rogers did that to me. Twice already in 2015.

First with Viral at the Bootleg Theater/Moving Arts and then Ligature Marks, his 2014 Hollywood Fringe Festival piece now playing (with new cast and director) at Theatre Unleashed.

It’s hard to discuss it without giving away the very parts of his storytelling which made me go “Oh holy shit, this is NOT what I expected.”Ligature Marks

It left me as fucked up and oddly resolved as the characters in the play felt (otherwise known as empathy).

It gave me insight into a trope I typically despise: dependent relationships, especially when the female looks to be the more dependent one.

Since VIRAL last month, it made me want a different local theater to produce a different Mac Rogers play every single month so I can get my relevance and empathy fix. I would even buy a subscription to it.

I’d say that’s a win.

http://www.theatreunleashed.org for tickets and more information.

 

REDCAT and KPCC’s The Frame present: Hearing Latino voices in contemporary culture

I’ll be live tweeting this talk and can take questions via @cindymariej .

REDCAT and KPCC’s The Frame present: Hearing Latino voices in contemporary culture

Tuesday, March 3, 8:30 – 10:00pm
Location
  • REDCAT
  • 631 West 2nd Street
  • Los Angeles, CA 90012
LACMA symmetry

Diana Lee/flickr via Creative Commons

The LACMA itself is a work of art

Buy tickets now

Even as Latino communities have long been essential parts of our society and culture, it seems that only recently national marketers and political pollsters have noticed that one-sixth of the U.S. population is of Latino or Hispanic heritage. Or that the United States is the second-largest Spanish-speaking country in the world, trailing only Mexico.

This is 
old news in California, where Latinos constitute nearly 40 percent, and yet the demographic group remains vastly underrepresented in many sectors—including arts and culture institutions. Why
 is this the case and what can be done about it?

These questions are considered by a distinguished panel of artists and cultural leaders that includes filmmaker Rodrigo García (Albert Nobbs,
 Nine Lives), LACMA Associate Curator Rita Gonzalez (Phantom Sightings: Art after the Chicano Movement), writer Jeff Chang (Who We Be: The Colorization of America), Center Theatre Group Associate Artistic Director Diane Rodriguez, and will be moderated by CalArts President Steven D. Lavine. 

The Road to Show Boat is Paved with…Intentions….

Originally posted on fairyprincessdiaries:

The Fairy Princess did some “Activist-ing’, she did.

Normally, she writes about productions and they are generally in a different town or somewhere where to get involved in the physical aspects of protesting, she would have to jump a plane.

Sadly though, right here in New York City, the National Asian Artists Project, has decided to do an All Asian American production of Show Boat.

Yes, this Show Boat.

At this point, everyone knows which Show Boat we are talking about – the Jerome Kern/Oscar Hammerstein classic,  Show Boat, which deals with the divide between the Caucasian and African Americans Post- Civil War in the Deep South.

Duh_duh_duh

Show Boat is a show that, in TFP’s opinion, is not one that can be done by APIs with any sense of dignity or sense of history, or, well…sense.

In fact, if one is to do this show without…

View original 2,704 more words

My History with Half Lives

Follow along with me tomorrow night as I see the opening night of Half LifeI’m always interested in what REDCAT offers, but this story hits close to my creative home. From their press release:

Weaving together narrative and abstract modes of storytelling, Half Life explores the psychological fallout of global disaster, and how it affects our emotions and imaginations. It’s story centers around two women who literally and figuratively live on opposite sides of the world. When an unknown cataclysmic force disrupts both of their lives, each is compelled to embark on a journey to locate its source.

I have a history with shows about nuclear fallout. From 2004-2011, much of my life was consumed by one project, Voices From Chornobyl. During those years, it had been presented in both the US and the UK to raise money and awareness of the nuclear accident (inspired by Svetlana Alexievich‘s interviews). Its companion piece Voices From Chornobyl Jr. premiered and won Best of 2011 Fringe.

I found the experience both fascinating and frustrating, to bring ‘awareness’ to a time in history when the Ukrainian people’s lives changed forever, and so few of us had any clue (so few of them, for that matter). I stuck with the project because of my complete ignorance before reading Alexievich’s book. Then in 2011 at the 25th anniversary events, Fukushima happened and it seemed almost too immediate, too relevant for our times. I scheduled talkbacks to explain the difference between the two accidents and fallout, so we could feel the impact of Chernobyl but not make our audiences run out and buy iodine.

So I’m interested to see how this project attacks its subject.

All the info is below. Follow my experience on twitter, Facebook & instagram

REDCAT Presents the World Premiere of
Half Life
The newest work from Los Angeles Multimedia Collective
Cloud Eye Control

Thursday, January 15, 2015 to Sunday, January 18, 2015

NOTE: They sold out the entire weekend and so added a Saturday matinee at 4 p.m. on January 17th.


Photo Courtesy the Artist.

(Los Angeles, CA) — REDCAT, CalArts’ Downtown Center for Contemporary Arts, presents the World Premiere of Half Life, the newest work by Los Angeles multimedia ensemble Cloud Eye ControlThursday, January 15 to Sunday, January 18, 2015.

Cloud Eye Control was formed in 2006 by the Los Angeles based trio of animator and media artist Miwa Matreyek; composer, writer, and performer Anna Oxygen (Anna Huff); and theater director Chi-wang Yang, all known internationally for their stunning work individually and as a multimedia collective.

A deeply expressive lamentation of fierce urgency, the latest multimedia production from Cloud Eye Control is an imagistic, visceral work inspired by the nervous fear felt in the wake the 2011 Fukushima Daiichi nuclear disaster. It features Cloud Eye Control’s signature hybrid performance style that mixes projected animation, live performance, and a live soundtrack of original electronic music.

Cloud Eye Control transforms the stage into an imaginative landscape with several customized, moveable screens full of lush animations where live actors interact in the layered space to create imaginative and odd encounters between the virtual and the physical. The original score, sung by the performers with a live band, brings a rock concert dynamism to the moody and atmospheric world.

Cloud Eye Control’s Half Life is part of a continued supportive relationship with REDCAT. Cloud Eye Control’sUnder Polaris, anepic journey across a vast arctic expanse was co-commissioned and premiered by REDCAT in 2009. The piece went on to tour nationally and internationally, to Chile and France, and helped establish Cloud Eye Control as “transcendently spectacular theater” – Los Angeles Times.

In 2014 REDCAT presented Cloud Eye Control member Miwa Matreyek’s magical, visually rich fusion of intricate video animation and solo performance to sold out audiences that were left spellbound.

More on Cloud Eye Control can be found at their website, http://cloudeyecontrol.com

Artist bios:

Miwa Matreyek is an internationally recognized animator, designer, and multimedia artist based in Los Angeles. She creates animated short films as well as live works that integrate animation, performance, and video installation. Arriving to animation from a background in collage, her work explores how animation transforms when it is combined with body, both physically in her performance pieces, as well as a composited video element in her short films. Her work has been shown internationally at animation/film festivals, theater festivals, performance festivals, as well as art galleries, science museums, tech conferences, universities, and more.http://www.semihemisphere.com

Anna Oxygen is the stage name of multi-media artist, composer and performer Anna Huff. She has extensively toured Europe and the United States performing musical and interactive performance pieces. She has released several albums of electronic and acoustic music, most recently This is an Exercise on indie label Kill Rock Stars. Her performance and video work has been presented at PS1 MOMA Contemporary, The Seattle Art Museum, LACMA (LA), NYU, The Armory Center for the Arts (Pasadena), The Portland Institute for Contemporary Art, and the Rohsska Museet in Gothenburg, Sweden among others. http://www.annaoxygen.com

Chi-wang Yang is a Los Angeles-based director of theater and performance. Whether in the form of plays, operas, concerts or installation; his work is physical, experimental, and collaborative. He is committed to expanding notions of identity and theatrical form and to exploring the unstable intersections of body, narrative and technology. His work has been presented at theaters and galleries internationally, including REDCAT, Baryshnikov Arts Center, Havana International Film Festival and the Edinburgh International Festival Fringe. Recent directorial projects include They Are Dying Out, by Peter Handke, and The Closest Farthest Away/La Entrañable Lejanía, a groundbreaking international collaboration between American and Cuban artists.http://mysteriously.org

“Magical…unlike anything you’ve seen before… transcendently spectacular theater” —Los Angeles Times

Cloud Eye Control: Half Life

Thursday, January 15–Saturday, January 17, 8:30 p.m. and
Sunday, January 18, 3:00p.m.

NOTE: They sold out the entire weekend and so added a Saturday matinee at 4 p.m. on January 17th.

Tickets: $16-$25
Location: REDCAT | 631 West 2nd St. Los Angeles, CA 90012

For more information call the REDCAT Box Office at 213-237-2800
Or visit: http://www.redcat.org/event/cloud-eye-control-half-life

Half Life is produced with Los Angeles Performance Practice, and was made possible in part by a creative residency with the CalArts Center for New Performance.

Half Life is funded in part by the New England Foundation for the Arts’ National Theater Project with lead funding from the Andrew W. Mellon Foundation; the LEF Foundation; and The MAP Fund, a program of Creative Capital, primarily supported by the Doris Duke Charitable Foundation.

New England Foundation for the Arts

What I Care About This Week

*In case you need background on the Boko Haram attacks….

…that reportedly killed 2,000 civilans. I certainly did. Read on The Root.

*This gets to the point I try to hammer into clients….

….one person’s perspective or use of social media does not speak for their entire generation. Read An Old Fogey’s Analysis of a Teenager’s View on Social Media

 *NASA is a world leader in global warming research, but for how long?

*Trigger warning (rape and sexual harassment, stalking):

A YA author asked for sightly less than minimum wage…

…to write a sequel for her fans who wanted it, after the publisher passed on the book.
For daring to ask for money for her work (all $10 pledges received a copy of the book when finished) she received rape threats (which triggered memories of her own past rape) and was emailed photos of her home among other harassment.

Her response: “Jealousy rots and corrupts your creative soul and feeding your social media presence by hunting out controversy, feeding the flames, and then pretending you are simply fostering discussion is poisonous and empty. You create nothing but spite in a world that is already full of it and in desperate need of kindness.” Read her full response.