Author: Caitlin Gleason

[DANCEROULETTE] Susan Rethorst with Gregory Holt and Gabrielle Revlock: Stealing from Myself

What: Blending old and new work from her 30-year career, choreographer Susan Rethorst creates a dance for and with performers Gabrielle Revlock and Gregory Holt.
When: June 13–15, 2018
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost:  $20 Door, $15 Presale
Info: www.roulette.org / (917) 267-0368

Brooklyn, NYStealing from Myself engages the personal archive of beloved choreographer Susan Rethorst to create new material for and with performers Gabrielle Revlock and Gregory Holt. Rethorst draws on 30 years of material to create a physical vocabulary for the two dancers utilizing small gestures that build into a large work over 30 minutes. Rethorst strings her gestures into passages and then paragraphs that become evocative stories, exploring “movements that are like found objects,” and has no fear of making ambitious work. Some say the experience is like being transfixed by a great painting.

Since 1975 Susan Rethorst has steadily created dances out of New York and Philadelphia. Rethorst’s work has been presented by The Museum of Modern Art, The Kitchen, Dance Theater Workshop, Danspace Project at St. Marks, The Whitney Museum, and others. Internationally her work has been produced by The Holland Festival, Spazio Zero Rome, The Kunsthalle Basel, The Aix-en-Provence Festival, Jerusalem’s Room Festival, and more. Rethorst has been instrumental in devising BA and post-graduate programs in Copenhagen, Cork, Salzburg, and Amsterdam. She initiated a program for the Amsterdam School of the Arts, a study of choreography in Studio Upson in Pennsylvania (SUPA), and the Center for Performance Research in Brooklyn. Rethorst was among the first to receive a New York Dance and Performance Award (Bessie) for Outstanding Achievement in 1985. In 2008, she received her second Bessie for 208 East Broadway: Suitcase Dreams.

Gregory Holt is a choreographer from Philadelphia, where he also works as a community organizer. His dances are refined, process-based works, looking for social structures in somatic experience. His organizing work is in developing the local cooperative economy and direct action for climate justice. His work has been shown across the US, in Canada, and in Europe.

Gabrielle Revlock is a dance-maker known for her work with the hoop and her “inventive,” “rambunctious,” and “mesmerizing” choreography. Presenters include American Dance Festival, JACK, Gibney Dance Center, FringeArts, Joyce SoHo, and Annenberg Center for the Performing Arts. Internationally she has performed in Japan, The Netherlands, Singapore, Hungary and Russia.

[RESIDENCY] Amirtha Kidambi: Lines of Light

What: The composer/vocalist Amirtha Kidambi channels centuries of vocal tradition through electronics and structured improvisation
with inspired, virtuosic collaborators.
When: June 17, 2018. 8pm.
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20 Door, $15 Presale
Info: www.roulette.org / (917) 267-0368
Tickets: bit.ly/SP180617

Brooklyn, NY – Virtuosic composer/vocalist Amirtha Kidambi continues her 2018 residency with Roulette to present the world premiere of Lines of Light. The piece is inspired by the title of the late Muhal Richard Abrams’s Levels and Degrees of Light and medieval composer Hildegard von Bingen’s reference to her vision of God as “The Shade of the Living Light” and brings together a group of female vocal powerhouses. Featuring Jean Carla Rodea, Anaïs Maviel, Emilie Lesbros, and Charmaine Lee, the quartet is a structured improvisation, intended to allow each vocalist to exercise maximum creativity within the larger framework of the piece. Following the Inauguration of Donald Trump, Kidambi assembled the group to freely improvise in order to form community with female musicians from diverse backgrounds in a time of extreme vulnerability and uncertainty. Developed out of Kidambi’s long-term vision to elevate vocalists within experimental music, as they have been historically marginalized due, in part, to the gendered nature of jazz and the avant-garde, Lines of Light showcases the increasingly high caliber of vocalists currently working in New York. The resident artist will also present a new improvised duo with Lea Bertucci on analog electronics. In the duo, Bertucci manipulates Kidambi’s voice through tactile methods with analog tape machine, by pressing on the reels and physically touching the tape. Kidambi reacts in turn with a vocal arsenal of timbral techniques, creating a literal visceral feedback loop of noise, processed, and amplified voice.

Amirtha Kidambi is invested in the creation and performance of subversive music, from free improvisation and avant-jazz, to experimental bands and new music. She is the creative force behind the band Elder Ones, as well as a key collaborator in Mary Halvorson’s Code Girl, duo with Darius Jones and his groups Elizabeth-Caroline Unit and Samesoul Maker, Maria Grand’s DiaTribe, various groups with William Parker, Charlie Looker’s Seaven Teares and Pat Spadine’s Ashcan Orchestra. As an improviser, she has played with Matana Roberts, Tyshawn Sorey, Ingrid Laubrock, Ava Mendoza, Trevor Dunn, Ben Vida, Tyondai Braxton, and Shahzad Ismaily. Kidambi worked closely with composer Robert Ashley until the end of his life and had the honor of working with Muhal Richard Abrams for the premiere of Dialogue Social. She has performed nationally and internationally in Europe and Asia, with Elder Ones and solo in collaborative formations for the Whitney Biennial, Carnegie Hall, Newport Jazz Festival, Berliner Festspiele (Germany), Festival Jazz Jantar (Poland), Borderline Festival (Greece), Bimhuis (Amsterdam), and Music Unlimited (Austria).

Lines of Light
Jean Carla Rodea
Anaïs Maviel
Emilie Lesbros
Charmaine Lee
Amirtha Kidambi

Amirtha Kidambi/Lea Bertucci Duo
Amirtha Kidambi – Voice
Lea Bertucci – Analog Electronics

Roulette to Receive $22,000 Grant from the National Endowment for the Arts

Brooklyn, NYNational Endowment for the Arts Chairman Jane Chu has approved more than $80 million in grants as part of the NEA’s second major funding announcement for fiscal year 2018. Included in this announcement is an Art Works grant of $22,000 to Roulette Intermedium for the Roulette Concert Archive Radio Project. The Art Works category is the NEA’s largest funding category and supports projects that focus on the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and/or the strengthening of communities through the arts.

“The variety and quality of these projects speaks to the wealth of creativity and diversity in our country,” said NEA Chairman Jane Chu. “Through the work of organizations such as Roulette Intermedium in Brooklyn, New York, NEA funding invests in local communities, helping people celebrate the arts wherever they are.”

Roulette Co-founder and Director of Special Projects David Weinstein stated: “The Roulette Concert Archive Radio Project makes available musical treasures reflecting both the organization’s 40-year history with adventurous and influential artists—often during their formative years—and the uniquely personal relationship that Roulette cultivates with artists. The blossoming of ideas, the technical discoveries, and the surprising collaborations are all captured in restored, quality recordings made in Roulette’s early performance spaces in Manhattan lofts and galleries, as well as the 400-seat Brooklyn concert hall that Roulette has called home since 2011. Releasing highlights from the collection will illuminate the challenges, potential, and triumphs of American creative life and its resonating impact on us all.”

The Roulette Concert Archive Radio Project is a professionally produced radio series curated from nearly 3,000 sound art and music performances recorded and preserved by Roulette since 1980. The programs will include historic and educational narratives, artist interviews, and musical illustrations to be distributed through Roulette’s radio partners, as a podcast, and as an offering on PRX (Public Radio Exchange), the online marketplace for public radio programming. Roulette is internationally recognized for its support of new and innovative work across all media and its quality of presentation. This project will support the creation of 26 radio segments, each 57 minutes long, as well as the promotional support and permissions clearances necessary to produce the shows. The programs will be available for free on Roulette’s website and will feature exploration of new techniques and technologies, interactive and kinetic work, new instruments and inventions, installation and interdisciplinary projects, hybrid and expanded ensembles, and spatial experiments.

Spotlight on Amirtha Kidambi


[RESIDENCY] Amirtha Kidambi: Lines of Light
Sunday, June 17, 2018 @ 8:00 pm

Tell us about yourself and what you do.

My parents are from South India (Tamil Nadu) and immigrated to the U.S., settling in Buffalo where I was born. I was raised in the Bay Area where we did weekly devotional bhajan singing in the Indian community — where I basically learned to sing, that and choir in public school from age five. I also grew up doing Indian classical Bharatanatyam dance, which is deeply connected to the rhythms of Carnatic music and accompanied by a Carnatic ensemble — typically voice, violin, mridangam and the dance teacher intoning the rhythms on syllables. I grew up listening to a lot of that music, but also lots of classical music, jazz, R&B, metal, and punk. I got into more experimental / avant-garde music in college while studying classical music and hosting a radio show called “The Modern Age,” where I learned about a lot of music and composers such Edgard Varèse and early electronic music, Cecil Taylor, Albert Ayler, Anthony Braxton, Meredith Monk, and Giacinto Scelsi. That got me interested in singing experimental music and performing the work of contemporary composers, so when I moved to New York that is what I primarily focused on, and then turned towards improvising and composing my own music.

I guess I have always been interested in intensity and extremity, individuality and expression, subversion, music, and sounds that went against some kind of establishment… so all the music I was into when I was young across categories had those elements. Mostly I am focused on Elder Ones, which is the primary vehicle for my compositions but getting more used to the idea of solo work, which I found really daunting in the past. As I get more comfortable with it I am digging in deeper and think it will be a focus for me in the coming years. In recent years, I decided to only work with people who are asking me to do “my thing” within their music and have long-term existing relationships with them that will carry into the future. The music of Mary Halvorson, Darius Jones, Charlie Looker, Robert Ashley, Pat Spadine and other folks, all of it makes room for my own creativity through improvisation and expression, always in dialogue with the composer.

Describe the project you are developing for Roulette.

I’ve been working primarily on new solo work and also new pieces for Elder Ones for the first concert. The solo work is really informed by my studies in India and listening to a lot of solo work by musicians I admire. I’m also incorporating some percussion using ankle bells, from my days as a Bharatanatyam dancer and using some of that rhythmic language, though it’s still in an experimental stage. For Elder Ones, I’ve been writing music in direct response to all the horrors of our time. It’s overtly “political” and I don’t really care if it’s heavy-handed. We’re “talking back” through the music about what’s going on. It’s the only thing I know to do at the moment. We also brought in some new sounds, synth and electronic Sensory Percussion, so that has been adding an interesting sonic element to weaponize.

For the second one, I’m developing a vocal quintet of Emilie Lesbros, Anais Maviel, Jean Carla Rodea and Charmaine Lee (I’ll also perform in it) and an improvised duo with Lea Bertucci on analog electronics. I’m still developing the ideas for the second concert, but the general goal is to write an ensemble vocal work that gives these very unique and creative singers room to do their thing and experiment, in the context of a vocal group. I feel that improvised music, especially in the avant-garde scene is very instrument-centric, so this is an effort to build community with singers. There are some really amazing vocalists in New York right now! I was really inspired by working in Darius Jones’ vocal project Elizabeth-Caroline Unit.

How did you become involved with Roulette?

Roulette was one of (if not the first) venue where I was paid as a professional musician in New York. It was back in 2009 or 2010 with Seaven Teares at the Greene Street location in Soho, opening for Lee Ranaldo. Since then, Roulette has been part of nearly every major project I’ve done in New York — Dialogue Social with Muhal Richard Abrams, Robert Ashley’s CRASH, Darius Jones’ Oversoul Manual, Pat Spadine’s SheSings Herself A LittleSong, as well as the Jerome Foundation Emerging Artist Commission where I developed Elder Ones, and now the residency. I owe SO MUCH to this venue, seriously!

What is it like living and working in New York City?

Hard! I live in Astoria, which I really love because it’s extremely diverse and has a major neighborhood vibe. The thing that makes it worth it is the people interactions, both in the music scene and just the general weirdness of people around you. The musical community is just so incredible here. I feel like I meet new musicians who are incredible all the time and then there are people like Reggie Workman walking around who you can run into in a hallway at the New School (after our last Elder Ones rehearsal). How crazy is that?  

What is influencing your work right now?

Two things… my summer in India last year had an enormous impact on what I am doing. I felt unbelievably connected to my roots, speaking my language and going to temples. I was there to study music and took vocal lessons daily with an amazing guru named Karaikal R. Jaishankar. I can really feel the traces of that in my voice, but also in how I’m thinking about music. We had some very philosophical conversations about music and the divine, what it is to express oneself and all kinds of things. I also saw a concert almost every day of the week, so what I was putting in my ears was unbelievable virtuosic Carnatic improvisation. It was just a mind-blowing summer that was life-changing in many ways. I can really feel its influence, particularly in my solo work.

How did your interest in your work begin?

I came to New York for grad school and got increasingly interested in new music and started working with a lot of composers. As I was doing that, I was also improvising and learning a lot about my own voice, not just as a singer but as an artist. I learned a lot about myself through collaboration with other amazing artists in New York and eventually wanted to break free from always interpreting the work of others and write my own. I had been writing “songs” on and off for years, but they never really felt totally right. At Brooklyn College we had this amazing little cadre of performer-composers called the Sweat Lodge, where we wrote and performed each other’s work. That was when I first started using harmonium outside of the Indian music context and started to write music that sounded more like “myself.” Free improvising with other musicians taught me so much and continued to expand my vocal vocabulary and through adapting to the individuality of others, I started to find myself in juxtaposition. The more I focused on improvising, the more apparent my inclinations and my vision as a composer started to gain some clarity and momentum. I started writing pieces for voice and harmonium and then through the Roulette commission in 2014, I started writing the music for Elder Ones and we did our record in 2016 and having been active since then.

Who would you ideally like to collaborate with and why?

Honestly, I am so happy and excited about the people I am collaborating with now that it’s hard to say. Mary Halvorson, Charlie Looker, Darius Jones, Lea Bertucci, the amazing improvising vocalists I’m going to work with for the second residency concert in June, Emilie Lesbros; Anaïs Maviel; Charmaine Lee; Jean Carla Rodea and of course my band Elder Ones with Max Jaffe and Matt Nelson, who have been in the original line-up and the powerful additional of Nick Dunston; the folks in the Ashley project; Dave Ruder, Gelsey Bell, Aliza Simons, Brian McCorkle and Paul Pinto…I couldn’t be more excited about the people I already get to work with. The collaborations have literally everything to do with who I am as a musician and what I’m doing. If I had to say someone new…I would say Jen Shyu. I think what she does as a vocalist is very in line with what I want to do in my own way. She is so inspiring!

How long have you lived in New York City and what brought you here?

Nine years, which is crazy! I came under the guise of going to school, which was great, but really just to do music and work with people in the scene here. Also pizza?

Gemma Peacocke: Erasure

What: New solo and chamber works by New Zealand composer Gemma Peacocke exploring themes of gender, identity and marginalization.
When: Wednesday, June 6, 2018
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $25 Door, $20 Online
Info: www.roulette.org / (917) 267-0368
Tickets: http://bit.ly/SP180606

Brooklyn, NY – Composed by Gemma Peacocke, directed by Benita de Wit, and featuring string quartet Schiele, saxophonist Shelley Washington and a unique ensemble of performers, Erasure explores the marginalized experiences of women through a new program of solo and chamber works. Gender and identity themes are reflected and refracted across different instruments in a performance that blends live music and electronics, and shimmers with the potential of a new and uncharted cultural landscape.

The evening comprises five works: “Quiver” pierces the undercurrent of rage resulting years of marginalization and abuse; “Mothertongue,” a new work for solo violin and electronics, splinters and reforms under the tension between individual and collective experience; “Erasure” explores how ordinary and extraordinary women have been written out of history; “Skin” looks at the experience of being born a woman into a world where gender, race, size, age and appearance can determine one’s safety; “Aglow” flickers between shadow and light with the hope for change created by the #MeToo movement. These five works make up a tapestry of interconnected themes as we move fluidly through the world of Gemma Peacocke’s compositions.

Erasure – for amplified string quartet (NYC Premiere)
Quiver – for piano, bass, and percussion (NYC Premiere)
Aglow – for piano, bass, and baritone saxophone
Skin – for saxophone and electronics (NYC Premiere)
Mothertongue – for violin and electronics (World Premiere)

Shelley Washington – baritone and alto saxophone

Schiele String Quartet
Adrianne Munden-Dixon – Violin
Michelle Painter – Violin
Carrie Frey – Viola
Molly Aronson – Cello

Resist x Improvise: An Evening for Roscoe Mitchell

What: An evening honoring legendary American avant-garde jazz and new classical composer, improviser and performer Roscoe Mitchell featuring performances by producer Anna Wray, Michael Lofton, and the Human Time Machine.
When: Tuesday, June 5, 2018
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20 Door, $15 Online
Info: www.roulette.org / (917) 267-0368
Tickets: http://bit.ly/SP180605

Brooklyn, NY – This special evening focuses on the work of legendary composer and performer Roscoe Mitchell. Rooted in activism, Mitchell’s work has become extremely influential to a new generation of artists who merge their artistic practice with social justice. In these performances by Anna Wray, Michael Lofton, and Brian Adler and the Human Time Machine, the artists join forces with electronics and visuals to explore Mitchell’s work and the injustice being done to the African American community.

Anna Wray’s newest chapter has her returning to her roots to New York after earning a BA and MFA in California. Her time on the West Coast provided her with multiple opportunities to improvise and perform with top artists such as William Winant, Zeena Parkins, Roscoe Mitchell, Steven Schick, Julia Wolfe, Christian Wolff, among others. Anna’s primary focus is to embark on a creative collaboration process with composers, musicians, dancers, theatre groups, and artists on the cutting edge of experimental music and experimental art.

Human Time Machine:
Brian Adler – Musical Director, Percussion
Jeremy Smith – Alto Percussion
Elizabeth Pupo-Walker – Tenor Percussion
Ned Haweeli – Soprano Percussion
Anna Wray – Bass Percussion

With Special Guests:
Jesse Neuman – Laptop, Samples, Trumpet
Michael Lofton – Baritone Voice
Crockett Doob – Film/Video/Projection
Red Wierenga – Piano
The program includes the following, among other compositions:

“Sunrise on an Ice Moon” *
Solo Vibraphone by Roscoe Mitchell
* World Premiere, Performed by Anna Wray

“dim,” “this is,” and “because it’s” by Roscoe Mitchell
Scored for baritone and piano
Performed by Michael Lofton and Red Wierenga

Face the Music and Luna Composition Lab

What: Face the Music presents world premiere performances written by the five young female composers selected as 20172018 Luna Lab Fellows
When: Monday, June 4, 2018
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost:  $25 Door, $10 Online
Info: www.roulette.org / (917) 267-0368
Tickets: http://bit.ly/SP180604

Brooklyn, NY – The student-musicians of Kaufman Music Center’s Face the Music present world premiere performances of new works written by the 20172018 Luna Composition Lab Fellows, as well as established composers. The five young female composers chosen as this season’s Luna Lab Fellows were selected from a national pool of applicants, and are mentored closely by established female composers of the contemporary music. Face the Music, an original collaborator of Luna Lab, works with the fellows to read, workshop, and present professional-quality performances of their pieces. This season’s fellows include Caroline Bragg, Maya Johnson, Helen Lyons, Katie Palka, and Aliya Salmanov. Mentors include Ellen Reid, Reena Esmail, Kristin Kuster, Tamar Muskal, and Gity Razaz.

Kaufman Music Center’s Face the Music is the country’s first youth ensemble dedicated to studying and performing music by living composers. Called “a force in the New York new-music world” by the New York Times, Face the Music is a unique youth orchestra: an ensemble and collective music-making program where young and committed musicians use the music of today as a vehicle to explore collaborative decision making and develop leadership skills. Face the Music features a collection of ensembles including chamber orchestras, a jazz big-band, an improvisation collective, string quartets, and mixed chamber-groups.

Luna Composition Lab is a program that provides mentorship, performances and networking opportunities to female composers ages 1319. Luna Composition Lab was founded in 2016 by composers Missy Mazzoli and Ellen Reid in collaboration with Face the Music at the Kaufman Center, and in its inaugural season garnered attention from the New York Times, Musical America, The New
Yorker, Huffington Post, and NY1 News. Luna Composition Lab aims to help close the gender gap in the classical music field by providing participants with one-on-one mentorship with established female composers, performance opportunities in New York City, high-quality recordings, and instant access to a network of like-minded peers and professionals.

Clara Latham: Bertha the Mom

What: World premiere of Bertha the Mom, a chamber opera examining hysteria, feminism, and the birth of psychoanalysis.
When: Sunday, June 3, 2018
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost:  $20 Door, $15 Online
Info: www.roulette.org / (917) 267-0368
Tickets: http://bit.ly/SP180603

Brooklyn, NY Bertha the Mom merges the histories of hysteria and feminism in a chamber opera that questions the validity of truth and how it relates to what we know about the past. The work is based on the historical accounts of German feminist Bertha Pappenheim—commonly known under the pseudonym Anna O—patient of Dr. Josef Breuer, a contemporary of Sigmund Freud and the first subject of psychoanalysis. Told through four performers, the stories of Pappenheim and Anna O are told in parallel to examine radically different types of female subjects within 1880s Vienna. Employing the fiercely original palates of these four creative performers, Clara Latham merges fantastical sonorities with earnest melodies, creating an uncanny mixture of camp and sincerity.

The well-lauded cast includes soprano Alice Teyssier, baritone Michael Weyandt, trumpet player Peter Evans, and Seth Parker Woods, described by the Guardian as “a cellist of power and grace.”

Alice Teyssier – Bertha
Michael Weyandt – Doctor Josef Breuer
Peter Evans – Character’s Unconsciouses
Seth Parker Woods – Character’s Unconsciouses

Directed by Katherine Brook
Composed by Clara Latham
Libretto by James Currie

[RESIDENCY] Gabrielle Herbst: Vulnerability

What: World premiere of composer and vocalist Gabrielle Herbst’s opera exploring vulnerability, anxiety, fear, and struggle through the lens of self-care and interpersonal relationships.
When: Thursday, May 31, 2018
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20 Door, $15 Online
Info: www.roulette.org / (917) 267-0368

Brooklyn, NY – How do we talk about our lives in 2018? What methods do we use to explore it? Gabrielle Herbst returns to Roulette to present Vulnerability, an opera unpacking America’s current sociopolitical climate and the ways we live within it. Exploring themes of personal and collective vulnerability, anxiety, fear and struggle, while investigating self-care and interpersonal relationships, this process-based work is written for two voices and two loop pedals, electronics, harp, violin, cello, flute, piano and clarinet, and is rendered through a dreamlike non-narrative tableaux with close harmonization, textural rhythms, melismatic vocals, electronics, and cross-genre pollination. The work seeks to connect internal struggles to outward means.

Gabrielle Herbst (b. 1986) is a composer and vocalist residing in Brooklyn. Herbst’s formal training began at an early age, studying Balinese dance and gamelan in Indonesia while learning both the clarinet and piano. She continued her training at Bard College where she studied voice and composition. Her work has been showcased at Robert Wilson’s Watermill Center, as well as Roulette, who in 2014 commissioned and premiered her first opera, Bodiless. Herbst has also developed a repertoire of short-form, vocal-centric compositions under the name GABI, driven by solitary explorations with a dual-track loop pedal.

The Nouveau Classical Project is a New York-based, all-women contemporary classical music ensemble that is “bringing a refreshing edge to the widely conservative genre” (VICE). It began by collaborating with fashion designers for its concerts and has expanded to creating multidisciplinary performances. Its mission is to engage new audiences and show that classical music is a living, breathing art form.


The Nouveau Classical Project
Laura Cocks – Flute
Mara Mayer – Clarinet
Maya Bennardo – Violin
Thea Mesirow – Cello
Sugar Vendil – Piano
Marilu Donovan – Harp
Charlotte Mundy – Voice
Gabrielle Herbst – Voice

thingNY and Varispeed: Musical Voices Around A Table

What: Experimental composer-collectives thingNY and Varispeed perform three vocal-heavy works around a communal table on Roulette’s stage.
When: Wednesday, May 30, 2018
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost:  $25 Door, $20 Online
Info: www.roulette.org / (917) 267-0368

Brooklyn, NY – Two quirky, unconventional groups merge for vocal chamber music by Gelsey Bell, Rick Burkhardt, and the legendary absurdist Kenneth Gaburo. First, thingNY presents a short selection of songs from Gelsey Bell’s Rolodex, in which the ensemble surrounds the interrogation table to investigate a crime. Next, thingNY performs Rick Burkhardt’s Passover, a performance-ritual for six singing/speaking instrumentalists seated at a dinner table. Finally, Varispeed performs a new homespun arrangement of Kenneth Gaburo’s 1968 cult-classic Maledetto, a fusion of taxonomy lecture, absurdist inner dialogue, Dadaist choral music, and your uncle’s dirty jokes for seven “virtuoso speakers.” Three works are performed around a communal table.

thingNY is a New-York-based collective of composer‐performers who fuse electronic and acoustic chamber music with new opera, improvisation, theater, song, and installation.

Varispeed is a collective of composer-performers that creates site-specific, sometimes-participatory, oftentimes-durational, forevermore-experimental events.

Rick Burkhardt is an Obie-award-winning playwright, composer, director, and performer. He is a founding member of the Nonsense Company, an experimental chamber music-theater trio, and the Prince Myshkins, a cabaret-folk political satire duo.

Gelsey Bell – Voice, Percussion, Celtic Harp
Andrew Livingston – Voice, Double Bass, Cello
Paul Pinto – Voice, Percussion
Erin Rogers – Voice, Saxophone
Dave Ruder – Voice, Clarinet, Guitar
Jeffrey Young – Voice, Violin
Brian McCorkle – Voice
Aliza Simons – Voice