Kristin Marting

Over the last 20 years, Kristin Marting has constructed 25 works for the stage, including 12 original hybrid works, 8 adaptations of novels and short stories and 5 classic plays. She works in a collaborative, process-driven way to fuse different disciplines into a cohesive whole. Recent projects include LUSH VALLEY, a live art participatory performance on citizenship, ORPHEUS, a collaborative alt-musical co-created with David Morris; and James Scruggs’s interactive solo work DISPOSABLE MEN. She also directed SOUNDING & DEAD TECH (collaborative hybrid works inspired by Ibsen texts), both of which received MAP Fund awards. Her works have toured around the US. She has collaborated on several large-scale political action art events, including The Line in 2004, which she is also in the midst of remaking for January 17, 2012. Over the last 20 years, she has been developing a unique hybrid directorial/choreographic form that features a “gestural vocabulary” used both as an emotional signifier & as a choreographic element. She was named Person on the Year by in 2011 and recently honored with a BAX10 Award.   She is a co-founder and Artistic Director of HERE, where she cultivates artists and programs all events for two performance spaces-including 18 OBIE-award winners – for an annual audience of 35,000. She created and co-curates HERE’s Artist Residency Program. For 19 years, she curated THE AMERICAN LIVING ROOM, an annual summer festival featuring over 30 new works by emerging artists; and for 8 years, QUEER@HERE, an annual festival of GLBT work. She regularly serves on  panels for NEA, NYSCA, DCA, and TCG.   Previously, Marting co-founded and served as co-artistic director of Tiny Mythic Theatre Company. She served as Robert Wilson’s assistant for HAMLETMACHINE and SALOME. She graduated from NYU with honors in 1988. She teaches at NYU and lectures at Harvard, Columbia, Brown, and Williams College among others.

Artist Statement

I make theatre because it forges community. I believe community can be formed when a group of people share live art in the same space at the same time. In that community, we can examine our shared assumptions & find new meaning. In a culture where people often feel isolated & overstimulated, this means a lot. I seek to create immediate work that engages the complexity of today’s streaming culture.  TRADE PRACTICES is an ideal project for viscerally engaging contemporary audiences. In 2004, I had one of my most exciting art experiences collaborating with 5000 very different people (artists, union members, activists, churchgoers) to create the world’s longest unemployment line, in protest of the Republican convention. That inclusive process led me to conceive my most recent work on American ideals, LUSH VALLEY. LUSH VALLEY was developed on simultaneous platforms: public action, online community & live performance to encourage varied views- as we plan for TRADE PRACTICES.  Our current economic climate dictates that I make this work now. This kind of collaboration is challenging, but my history with David & with artists in the HERE community has honed my ability to collaborate & my recognition of its role in creating complex work. I am confident that David with his visceral imagery & political acumen is an ideal collaborator to share this process-driven path. At the core of my work is risk-taking, both in form and content. In form, I endeavor to erase the boundaries between disciplines to create a cohesive whole. The challenge of fusing American capitalism, David’s politics & our community’s perspectives into a dynamic work is thrilling to me because of the risk & opportunity that it offers. I am eager to take that leap.

David Evans Morris

DEM artist photo

David Evans Morris makes original performance work and scenographic environments for the theater.  He works regularly with playwright/director Young Jean Lee (scenic design for UNTITLED FEMINIST SHOW, LEAR, and THE SHIPMENT, U.S. + European tours of SONGS OF THE DRAGONS FLYING TO HEAVEN and CHURCH), Taylor Mac, and Target Margin Theater.  He co-conceived, with director Kristin Marting, and designed scenery for ORPHEUS — an alt-rock opera based on the Classical myth, the design of which was included in the United States pavilion at the 2007 Prague Quadrennial.  Also with Ms. Marting: ERENDIRA, DEAD TECH, and POSSESSED.  With Les Freres Corbusier (Associate Artist) he co-created and designed the Off-Broadway hit about urban planning, BOOZY: THE LIFE, DEATH, AND SUBSEQUENT VILIFICATION OF LE CORBUSIER AND, MORE IMPORTANTLY, ROBERT MOSES, as well as designing the scenery for the Obie-winning A VERY MERRY UNAUTHORIZED CHILDREN’S SCIENTOLOGY PAGEANT, THE FRANKLIN THESIS and PRESIDENT HARDING IS A ROCK STAR, all directed by Alex Timbers.  As an Affiliated Artist with Clubbed Thumb he designed scenery for QUAIL (directed by Kip Fagan), DEMON BABY (directed by Ken Rus Schmoll), THE TYPOGRAPHER’S DREAM, and THE TRAIN PLAY. David holds degrees from the University of Washington in Seattle and Williams College, where he currently teaches design. He has received a Princess Grace Fellowship, been nominated for a Henry Hewes design award, and was a member of the HERE Artist Residency Program where he began developing EXERCISES FOR THE BODY POLITIC, an ongoing series of theatrical events about American civic life.

Artist Statement

I believe that “performing” includes everyone present at the time and place of performance; and from this idea I have been making a series of shows about American democracy, collectively titled EXERCISES FOR THE BODY POLITIC. In these pieces I have used collectively-created performance as a way of mirroring the way in which our actions (or inaction) as citizens shape the society in which we live. The last four years have been dominated by economic news, and I have felt the need to respond with a new piece in the EXERCISES series. We deal with the economic crisis every day, and frustration and anger has been mounting in response to perceived government inaction and the unrepentant attitudes of those in the financial and banking systems who played a role in the economic collapse. My goal for TRADE PRACTICES is to create a forum for reflection, conversation, and experimentation with the financial instruments and economic principles that are the visible and invisible hands underlying so many recent events. I could not be happier than to have a collaborator like Kristin Marting at my side for this endeavor. We speak a common creative language, but often deploy it to very different ends and with unique individual styles. This blend of complementary and contrasting aesthetics and interests has, over our decade-long artistic history together, resulted in exciting, boundary-pushing work that has always been at the heart of my career. Political theater that is one-sided, polemical, and with an specific agenda to advance has never held much interest for me. Rather, I would create political performances that are part theater, part marketplace of ideas, and part town hall meeting — a rethinking of the agora for the 21st century.


Erin Courtney‘s 13P play A Map of Virtue, directed by Ken Rus Schmoll, was awarded an Obie.  Her other plays include Honey DropBlack Cat LostAlice the Magnet, and Demon Baby. Her work has been produced and developed by Clubbed Thumb, The Flea, New York Stage and Film, Adhesive Theater, Soho Rep, and The Vineyard. She is a member of 13P, a member of New Dramatists and teaches playwriting at Brooklyn College.

Eisa Davis is a playwright, lyricist, composer, singer and actor in and out of Brooklyn, NY. She’s from Berkeley, CA though. Some of her plays: Bulrusher (Pulitzer finalist), Angela’s Mixtape (a Best of 2009 in The New Yorker), Ramp (Ruby Prize), The History of Light, Warriors Don’t Cry, Hip Hop Anansi, Paper Armor, Umkovu, and Six Minutes. Performing credits include the film and rock musical Passing Strange (Obie), The Wire, Damages, Smash, Hart of Dixie. Eisa is an artist-in-residence at Symphony Space, where she is currently developing a new musical, and was the 2012 winner of the Alpert Award in Theatre. Something Else is a record she made.

Robert Lyons is a playwright, director, and the Artistic Director of the two-time OBIE Award-winning New Ohio Theatre in the West Village (formally Ohio Theatre in Soho). Most recently, he was one of two writers on Lush Valley, which was developed at The Playwright’s Center in Minneapolis, and produced at HERE Art Center in Fall 2011. Other recent productions include, Nostradamus Predicts the Death of Soho, the final play in Robert’s NYC trilogy, which also included the critically acclaimed Red-Haired Thomas (“a sweetly fractured fairy tale” – New York Times) and Doorman’s Double Duty (“A gem!” – New York Times). Other full length and short plays include, PR Man, No Meat No Irony, The Naked Anarchist, Dream Conspiracy, Creature of the Deep, No Thanks/Thanks, Vater Knows Best, and Floor Boards, which have been presented in NYC by Soho Think Tank, HERE Arts Center, Project III Ensemble, Clubbed Thumb, The Foundry, Synapse Productions, among others. Commissioned adaptations range from The Possessed by Dostoevsky, to How it Ended by Jay McInerney. Favorite directing projects include Vaclav Havel’s Protest and multiple plays and performance pieces of Lenora Champagne. Robert is a MacDowell Fellow, has an MFA in Playwriting from Brooklyn College (program dir. Mac Wellman), and is also currently the Artistic Director at Sarah Lawrence College.

Qui Nguyen is an award-winning playwright, screenwriter, and Co-Founder/Co-Artistic Director of the OBIE Award winning Vampire Cowboys Theatre Company of New York City. Scripts include Krunk Fu Battle Battle (East West Players); She Kills Monsters (The Flea); Trial By Water (Ma-Yi Theater); Bike Wreck (Ensemble Studio Theatre); Aliens Versus Cheerleaders (Keen Teens); Soul Samurai; The Inexplicable Redemption of Agent G (Ma-Yi Theater & Vampire Cowboys); Lush Valley (HERE Arts Center); and the critically acclaimed Vampire Cowboys productions of Alice in Slasherland; Fight Girl Battle World; Men of Steel; and Living Dead in Denmark. His scripts are published by Samuel French, Broadway Play Publishing, and Honors include 2012 & 2009 GLAAD Media Award nominations (She Kills Monsters and Soul Samurai); 2008 & 2006 NY Innovative Theatre Award noms for Best Production (Fight Girl Battle World and Living Dead in Denmark); 2012 ITBA Patrick Lee Award for Outstanding Off-Off Broadway Show & 2010 nom in the same category (She Kills Monsters and Alice In Slasherland); named a 2012 TCG Young Leader of Color; 2007 citation for Best Adaptation of Comics into other Media (Men of Steel); 2004’s People of the Year; and cited as a “Downtown Playwright to Watch” by TIME OUT NEW YORK. He is a proud resident artist at New Dramatists, a core member of The Playwrights’ Center, an alumnus of Youngblood, and a member of Ensemble Studio Theatre and The Ma-Yi Writers Lab.

KJ Sanchez is founder/CEO of American Records, a theater company devoted to chronicling our time ( As a playwright, she has been produced (select lists) at Asolo Rep, Actors Theater of Louisville, Two River Theater, Baltimore’s CENTERSTAGE, Round House Theater, Working Classroom, Cornerstone and Off-Broadway at Urban Stages. She has directed plays by Dan Dietz, Kyle Schmidt, Heather Raffo, Jose Rivera, Quiara Hudes, and Kristoffer Diaz. As an actress she has been on stages at The Humana Festival, The Goodman, Berkely Rep, Long Warf, New York Theater Workshop and BAM. She is the voice of many characters in the cartoons Dora the Explorer and Go Diego Go. As the producer, director and co-author (with Emily Ackerman) of ReEntry, a play based on interviews with Marines returning from Iraq and Afghanistan, KJ produced its international tour and contracted with the Department of Defense, taking the play to service members at over thirty military bases and hospitals throughout the US and Internationally. KJ is a former member of Anne Bogart’s SITI Company and has taught extensively. She is a Civilians Associate Artist, a Fox Fellow, Douglas Wollop Fellow, Albert Award Nominee, an NEA CDP recipient and a TCG Doris Duke/Andrew W. Mellon Foundation New Generations Future Leaders Recipient.

Chris Wells is an Obie Award-winning writer, performer and teacher living and working in New York City, and the Founding Artistic Director of The Secret City. In Los Angeles he was a member of The Actors’ Gang, Indecent Exposure and Cornerstone, and began to specialize first in making original work with ensembles, then writing work of his own. Solo shows include Liberty! and Olsen Terror. He performed in many nightclubs and cabarets, creating original evenings of story and song, and with his band Christy and the Nonos created the original song-cycle, Nowhere to Run, for The Mark Taper Forum. He was awarded two LA Weekly Awards for his stage work, a Garland Award for playwrighting (A Fairy Tale, co-author), as well as several awards for ensemble work. As an actor he’s appeared around the country at Yale Rep, Hartford Stage, Alabama Shakespeare, Long Wharf Theatre, San Jose Rep, Baltimore’s Center Stage, The Papermill Playhouse and more, with directors such as Anne Bogart, Chay Yew, David Schweitzer and Bill Rauch. Since moving to New York in 2003, he’s appeared at The Ohio Theatre, LaMama, HERE, Dixon Place, Joe’s Pub and with companies like Clubbed Thumb, The Talking Band and SITI Company. He collaborates with Jeremy Bass to create new music, and appeared for four years with the performance collective, Are We Not Grown Ups, in unorthodox settings in and around New York City. In 2006, Chris was awarded the Charles Bowden Award from New Dramatists, for excellence in service to the playwright. In 2007 he founded The Secret City, whose mission statement reads: “The Secret City serves the human, social and spiritual needs of artists. We do this by creating live, interactive programs that engage a growing community in restoring the sacred roots of art making. Our primary program is our monthly service.” In 2010 he was awarded an Obie Award from the Village Voice magazine, for creating The Secret City. He is currently finishing his first book, I’M ABOUT TO TOUCH YOU, a memoir told in a collection of stories.


Liz Bourgeois (costume)

Xander Duell (composer) has been a composer, singer, instrumentalist and performer since age 10. He has recorded and toured in many bands, including Ambulance LTD and Inouk, which Vice Magazine called “the best indie rock band” in 2004. His latest film score was nominated for best score at the South By Southwest film festival, where the film won the Alfred P. Sloane Award and later the Audience Choice Award for best American Independent Film at the RiverRun Int’l Film Festival in 2012. For the Early Morning Opera theater company, Xander has done everything from fronting a punk band to composing for and conducting a string quartet in venues as diverse as the Whitney Museum in New York and the Kirk Douglas Theater in LA. His first solo album was released on Mexican Summer in the spring of 2011, and a follow-up is due this year.

Jared Mezzocchi (video) is a multimedia director and designer for live multimedia performances. He holds an MFA at Brooklyn College for Performance and Interactive Media Arts. He has directed at Andy’s Playhouse in Wilton, NH (The Lost World 2011, Dick Tracy 2010, Don Quixote 2009) as well as directed orginal works throughout the New York City area (Stoplight 2007, Projectionist 2010, Poppa God Bless 2011/12). As a video designer, Jared recently designed The Glass Menagerie (Arena Stage, DC) and continues working with Caden Manson’s Big Art Group (THE PEOPLE, FLESH TONE, SOS, THE SLEEP, CITYRAMA), The Builders Association (Jet Lag 2010), Rob Roth (Screen Test), Untitled Theater Company #61 (Hiroshima: Crucible of LightVelvet OratorioDo Androids Dream of Electric Sheep?), and at Three Legged Dog (Outdoor Projections, SPYGARBO 2011, New Georges GERM project). Jared has taught multimedia courses at NYU’s Playwrights Horizons and the Performance and Interactive Media Arts MFA program at Brooklyn College. As of this Fall, Jared will be moving to Washington D.C. to begin creating a curriculum in Projection Design at the University of Maryland’s (College Park) Theater Department, both Undergraduate and Graduate Levels.

Natalie Robin (lighting)

Jane Shaw (composer/ sound) is an award-winning NYC based sound designer and composer.

Gil Sperling (video)

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