Full Description:

Become a Roulette member today and receive an invitation to Roulette’s Fall 2012 Members Only Event with special guest...

Robert Ashley
Thursday October 18, 2012
7pm Reception / 8pm Performance.

Robert Ashley, renown for his work in contemporary opera, has been noted as one of the most revered composers and performers of our time. In April of 2012, he completed his residency at Roulette with an adaptation of his latest opera, The Old Man Lives in Concrete. We are happy to welcome Ashley back this October to perform a unique piece for a limited audience in the gorgeous setting of Roulette’s Art-Deco theater.

Roulette’s membership program provides a wide range of benefits as a thank you for sustaining the organization. We offer a variety of discounts and perks including free and reduced admission for members and guests, invitations to Members Only events, lectures, previews and much more. Below find details about our different membership levels. Visit our MEMBERSHIP PAGE or call (917) 267-0368 for more information on our membership plans and benefits.

Join the Roulette family.  Become a member today.

 

 

Full Description:

DANCEROULETTE, a five night festival of performing artists working within movement, sound, spatial design, visual cacophony, choreography, improvisation, ephemeriality, and theatrical re-imagining.




Bob Eisen - For Lulu

Laurie Berg - betInween

Deborah Black - I Would Rather See My Daughter Dead Than on the Stage




For Lulu

Choreographed and performed by Bob Eisen

Music: Lou Reed & Metallica



Bob Eisen is a dancer, choreographer and improviser who has been active in the field of dance for over 35 years. He was a co- founder and  co- manager of Links Hall Studio, a performance/ workspace in Chicago, where he was a prominent member of that city's performing arts community.  He moved to New York City in  the year 2000 .  The last five years have found him living half the time in America, and half the time in Russia, where he dances, teaches, travels, studies the language, and lives.




"For Lulu" is another in a series of solos that, over the past five years, I have created and performed extensively, both in America and in Russia, and in a wide variety of different spaces and contexts.




Laurie Berg - betInween

Laurie Berg presents betInween, with visual artist and longtime collaborator, Liliana Dirks-Goodman. A revisiting of previous works in order to figure out the process of coming forward into what comes next. Special guests include childhood heros, poultry of the stars and great legs (not Laurie's).



Laurie Berg is a Brooklyn-based artist who works in multiple forms including dance, performance, collage, jewelry, and video. She grew up in St. Louis, MO and received a BFA in Dacne from the University of Arizona, Tucson. She is a 2010 Movement Research Artist-In-Residence. Her fascinations with both the absurd and complex rhythms/structures afford her intersection of art and (almost) everything including: science, antique malls, nostalgia, color, dynamic environments, and the collaborative mind. Laurie maintains collaborations with dance artists Siri Peterson, Bessie McDonough-Thayer, Megan Byrne, architect/visual artist Liliana Dirks-Goodman and video artist Shantell Martin. Laurie presented A Different Brand of Chaos at Danspace Project as part of PLATFORM: 2011 Body Madness - Rhythm and Humor (March 2011), and a duet with Bessie McDonough-Thayer as part of the Brink series at Dixon Place (June 2011). Laurie has shown her various projects at FACADE/FASAD, Movement Research at the Judson Church, 303 Gallery, the ICMC at Stony Brook University, the TANK, DraftWork, Body Blend, the Salon Show at Ulla's House, AUNTS, the Movement Research Spring Festival 09, CATCH 35, and counterPULSE 2nd Sundays series in San Francisco among others. Laurie also enjoys dancing in the work of Heather Kravas, Megan Byrne, Sasha Welsh/Victory To Others, Christine Elmo and appeared in Tom Murrin's The Talking Show, at PS122, directed by Lucy Sexton in March 2010. In July of 2009 Laurie was a resident artist as part of the Rockbridge Artist Exchange, a program of the CDCT in Lexington, VA. She currently co-produces AUNTS with Liliana Dirks-Goodman, and the Salon Show at Ulla's House with Sasha Welsh. Her jewelry can be seen around the necks of many NYC artists. www.anotherbergcreation.com




Deborah Black - Isadoration; with Davina Cohen



Deborah Black grew up in rural Western Pennsylvania, trained as a ballet dancer in
Pittsburgh, received a BFA in dance from NYU's Tisch School of the Arts with a second
major in Art History, and commissioned two solos from Deborah Hay " The Runner
(2007) and I'll Crane For You (2008). She has collaborated with Margot Bassett, Karl
Cronin, Genevieve Beth Grady, Christiane Hommelsheim, Sasha Welsh, and has danced
for Diana Crum, Naomi Goldberg" Haas, Anneke Hansen, Susan Rethorst, and Peter
Sciscioli. Black, with Karl Cronin, received funding from the Jerome Foundation in 2010
to travel to Childress, TX to research the town, the people, and its landscape. She
studies the Alexander Technique with June Ekman and has trained with the SITI
Company. www.deborahblack.net



Davina Cohen is an interdisciplinary artist based in New York City. Her credits as an
actor/movement artist/singer include: Nick Brooke/The Cabinet, Target Margin,
Women's Project, foolsFURY, New Dramatists, Playwrights Foundation, Blessed Unrest,
San Francisco Opera, Berkeley Rep, Magic Theatre, NY Clown Theater Fest, The South
Wing, and HERE Arts. Her original work and adaptation of Deborah Hay's I'll Crane For
You have been supported by and presented at Lower Manhattan Cultural Council,
Movement Research, Philadelphia nEW Dance Festival, FURY Factory, Earthdance, San
Francisco Circus Center, and tinydangerousfun!. Collaborators include Sophia Remolde,
Taylor Mac, Enrique Urueta, Hillary Charnas, Jeremy Mikush, and leaf Tine. SITI
Company student and collaborator since 2004. She has taught and assisted workshops
through Solano College, Pacific Union College, the Western Massachusetts Moving Arts
Festival, and American Opera Projects. Current projects include a live radio play
commission for the Pop Up Museum of Queer History and a musical collaboration with
singer/songwriter Pistol Pete Sturman. Performance, yoga, and teaching
www.davinacohen.com

Full Description:

DANCEROULETTE, a five night festival of performing artists working within movement, sound, spatial design, visual cacophony, choreography, improvisation, ephemeriality, and theatrical re-imagining.

Julie Alexander - From nothing real
Megan Byrne - Untitled dance for Stephanie Waddell
Biba Bell - Mouth (w/ objects)

From nothing real
Choreography and Performance by Julie Alexander
Vocal Composition and Performance by Gelsey Bell

From nothing real is a solo piece created and performed by Julie Alexander, developed as part of the Kitchen's Dance and Process program 2011. Intimate and expansive, meditative and visceral, From nothing real explores the play between the power and vulnerability of a solo body in space, bringing our attention to what is present and what is invisible; how we present the body and how we exist in our bodies. Alexander is joined live by vocalist and improviser Gelsey Bell.

Julie Alexander is a dance artist based in New York, who has been performing locally, nationally and internationally for the last 9 years. She is originally from Houston, TX and graduated from Washington University in St. Louis in 2002, where she recently returned as the Marcus Artist in Residence in Dance. She has had the pleasure of performing in the works of Beth Gill, Miguel Gutierrez, Trajal Harrell, Anna Sperber, Michou Szabo, Donna Uchizono, Antonietta Vicario and Yasuko Yokoshi, among others. Most recent projects include performing in Anna Sperber's FOREVERANDADAY and Yasuko Yokoshi's Tyler Tyler and she will be performing in a new work by Michou Szabo in April 2012. Her own choreographic work has been presented by AUNTS, Dixon Place's Body Blend series and The Kitchen's Dance and Process program.

Gelsey Bell is a singer, songwriter, and scholar. She has four albums of original work and recently appeared on Jay Vilnai's Shakespeare Songs. This fall, she premiered her new song cycle, SCALING, as part of the Vital Vox festival at Roulette, co-created the site-specific adaptation of Robert Ashley's Perfect Lives with Varispeed as part of Performa '11, and appeared in Ashley's That Morning Thing at the Kitchen. She has premiered over a hundred works by contemporary composers as a core member of thingNY. She is also a PhD Candidate at NYU in performance studies currently writing her dissertation on American experimental vocal performance and the Critical Acts Editor for TDR/The Drama Review. www.gelseybell.com.

Untitled dance for Stephanie Waddell
Choreographed by Megan Byrne with movement by the performer
Performed by Stephanie Waddell
Music performed by Charly & Margaux

Description - Megan Byrne creates a solo performance for Stephanie Waddell accompanied by the violin and viola duet Charly & Margaux.

Biba Bell - Mouth (w/ Objects)
with Ben Hall (music)
Biba Bell (b. 1976, Sebastopol, CA.) is a choreographer, dancer, and writer based in Detroit and NYC. She makes her own work, and is a member of the collaborative trio MGM Grand (Modern Garage Movement) with Jmy Leary and Piage Martin. Currently a PhD candidate in the department of Performance Studies at NYU, she is writing her dissertation titled "Dancing There: (un)Specifying Site and Performing Space" while teaching a course on contemporary experimental choreography. Bell has performed at MOMA PS1, Pace Wildenstein, Callicoon Fine Arts, Greene Naftali, MOCAD Museum of Contemporary Art Detroit, Jack Hanley Gallery, Esalen Institute, Pacific Northwest College of Art, Yerba Buena Center for the Arts, Rosas Theatre, Creative Time Pavilion at Miami Art Basel, Adobe Books, Henry Miller Library and The Kitchen amongst others.

Full Description:

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

Full Description:

Robert Ashley's newest opera, "CONCRETE: The Next Generation" , incorporating new songs with some of the material of the original " CONCRETE" , follows Robert Ashley's preoccupation with the speech of the homeless and of people living together in a home for old people. The libretto might be considered to be the "musings" of an old man, who thinks about strange questions and answers in various forms of sarcasm, indifference, questions about the questions, and explanations. Featuring singers Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara, and Robert Ashley, with mixing and live processing by Tom Hamilton.

Full Description:

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

Full Description:

DANCEroulette, a five night festival of performing artists working within movement, sound, spatial design, visual cacophony, choreography, improvisation, ephemeriality, and theatrical re-imagining.



Diana Crum - If I tell myself I have enough time, then I can be with you

Yanira Castro - HEATHER O

David Thomson - Velvet







HEATHER O

Direction & Choreography by Yanira Castro

Performance by Kimberly Young

Set & costumes by Kathy Couch

Sound by Stephan Moore



Heather O is an exploration of portraiture, projection and presence. Specifically, it is a portrait of performer Heather Olson through movement created for and with her from 2002 to 2008. It is a dance that asks: What does it mean to be on stage? And what does it mean to prepare for it?




Puerto-Rican born director/choreographer Yanira Castro  collaborates with a core group of performers and designers on individual projects under the name "a canary torsi" . She and her collaborators work in a multiplicity of spaces: from warehouses, cellars, and restrooms to the stage, embedding dances within visual and audio installations that directly address the audience's experience of the live event. Castro began dancing at Amherst College where she graduated with a BA in Theater, Dance, and Literature in 1994. Her work has been presented by Dance Theater Workshop, PS122, The Chocolate Factory, and EMPAC, among others, and has toured internationally to the Daile Theatre in Latvia and the Tanzhaus NRW in Germany for the Tanzmesse Festival. Castro was artist-in-residence in Bacau, Romania through Artist Ne(s)t and has received several fellowships and awards for her work, including The MAP Fund, The Jerome Foundation, National Dance Project, and the Maggie Allesee National Center for Choreography.




Velvet - David Thomson & Malcolm Low - a collaboration/introduction....including mayhem, desire, thoughts and consequences





David Thomson is a collaborative artist who has worked in the fields of dance, music, and performance since the early 80¹s with such artists as Mel Wong, Remy Charlip,  Jane Comfort, Trisha Brown (1987-93), Bebe Miller, Sekou Sundiata, Dean Moss/Layla Ali, Susan Rethorst, Meg Stuart, Ralph Lemon and Marina Abramović among many others. He was a founding member of the a cappella performance group, Hot Mouth.  Thomson was honored with Bessies in 2001 for Sustained Achievement and 2006 as part of the creative team of Landing/Place.  He has taught nationally and internationally, as well as serving on the faculties of Sarah Lawrence College, Movement Research and the Experimental Theater Wing at NYU.   His work has been presented by Danspace Project, The Kitchen and Dance Theater Workshop.  Thomson is a 2011 Movement Research Artist-in-Residence.


 
Malcolm Low was selected in 2011 to be one of four Choreographic Fellows for Ailey's New Directions Choreography Lab, under the direction of Robert Battle. He is originally from Chicago where he danced with Joseph Holmes Chicago Dance Co. Then moving to Canada Mr. Low worked with Les Ballets Jazz De Montreal and Ballet British Columbia.  Upon arriving to New York Malcolm worked with Stephen Petronio, Ronald K. Brown/Evidence, Complexions and for 4 wonderful years with Bill T. Jones/Arnie Zane Dance Co. and most recently with Crystal Pite/ Kidd Pivot.  Malcolm will be showing his work, COLLAPSING GIANT, at Joyce SoHo on March 2 and 3 at 730pm.  Please follow him at Malcolm Low/Formal Structure on facebook and twitter.

Full Description:

DANCEROULETTE, a five night festival of performing artists working within movement, sound, spatial design, visual cacophony, choreography, improvisation, ephemeriality, and theatrical re-imagining.

Tess Dworman - Bear Enters, Scoffs
Clarinda MacLow- Tribute- short improvisation scores from dance luminaries Jennifer Monson, Yvonne Meier, and Linda Austin, and one score from a surprise guest.
Melanie Maar - Same Selves

Tess Dworman - Bear Enters, Scoffs
Performed by Tess Dworman and Caitlin Marz

Tess Dworman is a Brooklyn-based choreographer and performer originally from Chicago, IL.  In New York, Tess' dance works have been seen at AUNTS, Dixon Place, Movement Research at the Judson Church, Danspace Project, RoofTop Dance, and the Tank.  She is currently in the process of co-organizing the 2012 season for CLASSCLASSCLASS with Laurel Atwell (more info at classclassclass.org).

The creation of Bear Enters, Scoffs was inspired by the inherent yet careless expressivity of faces.  The work references an imaginary room and imaginary circumstances that remain unidentified but important.  Characterizations and mock narratives are explored as a template for physicality. Â

Clarinda MacLow - Tribute

As the beginning of a year of tributes to her community, dance and otherwise, Mac Low will perform short improvisation scores from dance luminaries Jennifer Monson, Yvonne Meier, and Linda Austin, and one score from a surprise guest. Mac Low will use her continuing connection to the living artists who influenced her earliest development to excavate past through physical autobiography,

CLARINDA MAC LOW started out working in dance in the late 1980s and now works in performance and installation and creates participatory events of all types. Shown at PS 122, the Kitchen, X-Initiative, the Center for Performance Research, Proteus Gowanus Gallery and others in NYC and elsewhere, including the 2010 Manifesta Biennial in Spain. Recent work: TRYST, interventions into everyday life; Cyborg Nation, public conversation on the technological body; and Salvage/Salvation, investigating re-use. She is also co-director of Culture Push, a cross-disciplinary organization encouraging hands-on participation and strong hybrid ideas, and a medical writer specializing in HIV/AIDS.

Melanie Maar - Same Selves
Inspired by works on metamorphosis and splitting images, this dance is guided by visual musicality and light. Maar's sense for the supernatural within the recognizable self serves a visceral urgency of the performers and a space where movement and sound
exist inseparably.

Melanie Maar is a New York based choreographer and dancer originally from Vienna, Austria. Her latest evening work Spaces and Bones, a collaboration with musician
Kenta Nagai, premiered in 2010 at The Chocolate Factory and was presented at Impuls Tanz Festival Vienna in 2011. During the last years she has deepened her performance practice with live music. She is currently part of a performance collective of musicans and dancers with Taylor Ho-Bynum, Abraham Gomez-Delgado and Rachel Bernsen as well as in a new project by composer Anthony Braxton, called Pine Top Aerial Music. Maar co-curated the Movement Research Festival 2010. Studies in cognitive science developed through her solo Off and On, which toured Movement Disorder Congresses from 2005- 2007. Her performances have also been seen in San Francisco, Washington D.C., Lisbon, Glasgow, Oslo and Berlin. She is a student of Gertraud Maar, Janet Panetta and Daria Fain. Maar teaches a Qi Gong based movement class and workshops on performance context for dancers. She has worked intensively with New York choreographer Luciana Achugar, as well as with RoseAnne Spradlin, Levi Gonzalez and others.
www.melaniemaar.com

Full Description:

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

Full Description:

DANCEROULETTE, a five night festival of performing artists working within movement, sound, spatial design, visual cacophony, choreography, improvisation, ephemeriality, and theatrical re-imagining.

Jessica Ray- Point and Head
Cori Olinghouse - Ghost lines
Ana Isabel Keilson - Rainer

Point and Head, Jessica Ray and Jessica Cook.
Directed by Jessica Ray
Performed by the both.

A duet as simultaneous solos. Despite our best intentions, unaware, we shaped a path that looks remarkably the same.

Cori Olinghouse - Ghost lines
Costume Design: Andy Jordan

"Even in 1970 there was nothing much left of the [Olinghouse] town other than the remains of fallen down buildings and what appears to be the skeleton of an old wagon."

Inspired by ghost towns, silent era clown films and Samuel Beckett's Ghost Trio, the masked figure in Ghost lines conjures a vaudevillian past, as if rising from the dust storms of the Great Depression.

Cori Olinghouse is a dance artist and certified Alexander Technique teacher. Her work has been presented by Danspace Project, The Flynn Center for the Performing Arts, Brooklyn Museum of Art and Movement Research. Cori performed with the Trisha Brown Dance Company from 2002-06. In 2005, Cori began a dancing dialogue Bill Irwin and has since been researching a variety of movement forms that explore physical transformation. She's been studying corporeal mime with Colin Gee and continuing her study of voguing with Archie Burnett and Benny Ninja. Cori was a 2009 Movement Research Artist-in-Residence. Cori is currently beginning a collaboration with filmmaker Shona Masarin to create a 16 mm b&w film of Ghost lines. coriolinghouse.com and http://vimeo.com/user6510148

Ana Isabel Keilson
Ana Isabel Keilson is a NYC-based choreographer; she is also a doctoral student in history at Columbia University. Fellowships and awards include: DAAD (German/American Academic Exchange) Fellowship, 2011; Choreographic Fellowship, Summer Stages Dance (2010); Choreographer in Residence, The Yard (2010); visiting artist, Storefront for Art and Architecture, NYC (2010); visiting artist, Daghdha Dance Company, Ireland (2009). From 2008 to 2009 she was the film archivist for Merce Cunningham. She is the founder and organizer of 'the zine.' In 2010 she was the co-director of CLASSCLASSCLASS. She was a 2011 writer-in-residence for Danspace Project's Body Madness Platform.

Full Description:

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

Full Description:

"When the 21st Century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning." (Village Voice). Robert Ashley , a distinguished figure in American contemporary music, holds an international reputation for his work in new forms of opera and multi-disciplinary projects. His recorded works are acknowledged classics of language in a musical setting. He pioneered opera-for-television with such revolutionary pieces as Music with Roots in the Aether , a 14-hour opera/documentary about the work and ideas of seven American composers and Perfect Lives , an opera in seven half-hour episodes commissioned by the Kitchen and broadcast in Britain, Germany, Austria, Spain, and the US. Distinctly original in style, and distinctly American in their subject matter and use of the American language, Ashley's work is "so vast in their vision that they are comparable only to Wagner's Ring cycle or Stockhausen's seven-evening Licht cycle. In form and content, in musical, vocal, literary and media technique, they are, however, comparable to nothing else." (The Los Angeles Times). Join us for this Benefit Concert to help keep Roulette running!