FURA DELS BAUS, SPAIN: CARMINA BURANA conducted by Gil Rose, w/ Buffalo Philharmonic Orchestra & Chorus + members of the Artpark Bridges program and community residents, (237 participants on stage, sold out)
PLASTICIENS VOLANTS, FRANCE (3 tours + new work in progress)
CIRQUE INEXTREMISTE, FRANCE
CIRQUE BARCODE, MONTREAL
BALE DE RUA, BRAZIL
ART MOVE CONCEPT, FRANCE
DAVID GLASS ENSEMBLE, UK
JON LEHRER DANCE, US
TIFFANY MILLS DANCE, US
ARTPARK FAIRY HOUSE FESTIVAL w/ international program of guest artists including: Giraffe Royal (Estonia), Cirque Orange, Cirque Barcode (Montreal), Uta Bekaia (Georgia), Lehrer Dance (US), Slyboots (US), 100+ others
ARTPARK BRIDGES, a year-round drama therapy program
ARTPARK STRAWBERRY MOON FESTIVAL as a part of year-round indigenous arts program featuring the artists of Haudenosaunee nations local to the area, featuring international & household names: Martha Redbone, A Tribe Called Red, Pamuya, Blue Rodeo + numerous other
THE ODYSSEY by Lear Debessonet and Todd Almond, directed by Roger Danforth , groundbreaking community collaboration involved over 200 participants including theatre professionals, volunteers and community organizations. Broadway stars joined community actors, students and volunteers.
A visionary multi-season of site-reactive audio experiences presented in a mobile app designed by The Holladay Brothers, curated and co-produced by Sozo Creative. With a hyper-local and global perspective, Sozo Creative and Artpark brought together some of the most influential BIPOC voices in music to cultivate aural experiences exploring the unique geological and historic Earl W. Brydges Artpark State Park located on Niagara Gorge, just seven miles from Niagara Falls.
EXCLUSIVE APP EXPERIENCES FEATURING:
“In a flash, I felt the power of the land and the presence of those who had passed through it. Not in some Hallmark Channel, neatly wrapped-with-a-bow manner. But through a strong and deep mini-epiphany that was both exhilarating and profoundly sad” - Jeff Miers, Buffalo News, Dec 2021
The engagement with the highly collaborative ensemble Alarm Will Sound in presenting collaboration with PS21 in Chatham, NY, came about as a result of the need for alternate content caused by the pandemic.
Alarm Will Sound, based in New York City, takes their approach beyond the music, frequently incorporating collaborations with other artists, in media including video, text, theater, and movement. It’s all meant to “inspire new questions in listeners and encourage the search for new answers.” A perfect fit. They proposed performing John Luther Adams’ “Ten Thousand Birds,” which he wrote for them. The composition requires the musicians and listeners to be spread out, and also incorporates nature: specifically birdsongs native to or migrating through the area where it’s performed, exploring the connections between nature and music. The fit for the venues, the times and the audiences seemed to be made to order. According to the composer’s directions, at times the music was so quiet that the listeners needed to mindfully search for the sounds.
At Artpark, we chose to place the performance in the brutalist semi-abandoned during the pandemic Mainstage Theater and its plaza, allowing for several spectacular sonic opportunities, a play with vertical and horizontal space, and avoidance of the most obvious (a bucolic garden nearby). Sonia Clark, President, Artpark.
A rebranded series defined by an eclectic variety of music experiences new to the audience. Each concert was presented in informal, often playful settings throughout the park, indoor and outdoor, with a variety of seating (sometimes walking/standing/dancing) configurations to accommodate most optimal experience for an entry-point audience. From 2016 to 2023 the small base chamber, jazz and new music audience grew from 218 attending in 2015 to 2,866 in the 2023 season.
A boy unfurls a Ukrainian flag from the back of a sedan as the sun sets in unnameable colors over the ridge. Children are playing under the sculpture Murmurations, metal poles wrapped in blue gauze, while others start to follow the chalked Arabic script of an installation by Muhammad Zaman from the parking lot to the courtyard beside the theatre, buzzing in the dusk with patrons buying beers and posing for portraits in front of murals scattered throughout the terraces of Brutalist concrete.
Tonight the Ukrainian quartet DakhaBrakha will perform their original live accompaniment to Alexander Dovzhenko’s Earth, a silent film the Soviets commissioned in 1930 and banned only nine days after its release, now hailed as one of the greatest works in cinematic history.
The avant-garde director and auteur Vladyslav Troitskyi, founder and “ideologist” of the group, has called its music “ethno-chaos.” The music, like the costumes–white lace wedding dresses or militaristic black wool overcoats, pointed boots, piles upon piles of beaded necklaces, accessorized fish, and most recognizably, their soaring, irregular wool hats–combines a variety of distinct Ukrainian ethnic folk traditions, all of which the members spent years researching across the country’s far-flung villages and farmlands. To these, they add a healthy dash of Middle Eastern influence, stark and literal imitations of birdsong and heavy weather, and an ambient awareness of American R&B. In 2008, four years after the band’s founding, Vladimir Putin in a private meeting with then-President George W. Bush insisted that “Ukraine is not a country.” Later this summer, he will expand upon the lie: modern Ukraine is a “fiction,” he will tell a Moscow audience, merely one of Lenin’s “sloppy” mistakes. For nearly two decades, DakhaBrakha has been a loud, living counterargument. Tonight, they make this counterargument in Western New York.
There are 532 people listening–some Western New Yorkers with Ukrainian ties, some appreciators of foreign films and followers of the University at Buffalo’s Bruce Jackson, who will interview the band after the performance, and some diehard fans of DakhaBrakha since even before their arresting NPR Tiny Desk concert in 2015.
The Artpark Mainstage Theatre sometimes feels empty. The most the facility can do to right-size for a smaller crowd is close the back gates that offer a view to an additional 2,000 lawn seats. Designed without a mezzanine, the auditorium and towering fly house give the impression of an aircraft hangar. The building would have swallowed a crowd this small at a typical concert, but when the lights go out and the first human hum issues from the amplifiers, space flattens against the proscenium–there is only the screen and the four seated performers lightly backlit below it. We see a patriarch slowly dying under an apple tree, then a tight, close shot of the thousand-seeded head of a sunflower. Nina Garenetska, Olena Tsibulska, Iryna Kovalenko, and Marko Halanevych weave their rich accompaniment, layering shouts, wails, and whistles over surging strings, buzzing lamellophone, unrelenting percussion. In their voices, cast through and against the film, there is a sense of a common primal substance from which all narrow and nameable emotions come. Brother-love, father-scorn, hunger-hate, wonder-gratitude. We experience these states, but also something older, immeasurable, unmade.
Striving to create a sustainability-conscious experience of arts, ecology, and culture year-round, we imagined a future for Artpark that embodies its history of communal interaction with art, nature, history and science. Artpark is the convergence of many kinds of power: the force of the water, the generation of electricity, artistic creation, and the power of people, to name a few. Together, these powers embody Artpark’s mission to fuel and fuse art + nature + culture + technology. In this vision where artistic immersion combines artificial and natural elements in the makeup of the landscape to suggest that art, nature, and culture are inherently linked.
http://so-il.org/projects/artpark
COMPLETED IN 2020
Dancers and robots shared the stage at the Brooklyn Academy of Music, for a performance that personifies the machine and mechanizes the human. The brainchild of choreographer Blanca Li, ROBOT is a 15-piece dance ensemble that comprises eight humans and seven humanoid toddler-size robots (NAO bots) dancing side by side, fully immersed in the sounds of a “mechanical orchestra.”
Known for her colorful, offbeat choreography, Li uses ROBOT as a means of exploring the polarity between human and machine, seeking out the nexus where the two can thrive. With humans mimicking robots and robots mimicking humans, ROBOT attempts to tackle grand concepts through the lens of irony, humor, and the juxtaposition of the beauty of the human form with that of machinery.
7 Rue de Fleurus
Book and lyrics by Ted Sod, Music and lyrics by Lisa Koch, Directed by Frances Hill.
"smart direction," "strong performances" (New York Times)
"luscious" (Variety); " Add this small charmer to this season's cornucopia of off-beat new musicals," (Curtain Up)
The Blue Bird
By Stanton Wood & Lori Laster, based on the classic by Maurice Maeterlinck, Directed by Heath Cullens, Scenic design by Andrey Bartenev, video design by Alex Koch, original music by Colm Clark.
World Premiere: December 14, 2007 – January 13, 2008
"lovely job at evoking magical worlds and characters," (The New York Times)
"... With exuberance and at times wicked humor, The Blue Bird achieves something irresistible: an adventure that is genuinely fun to embark on. It deals with death, grief, poverty, alienation, and fear, but it is never gloomy or self-conscious. The other half of the success comes from the renowned Russian avant-garde artist Andrey Bartenev's scenic and costume design. By marrying high-tech with high art, the familiar tale emanates as something strikingly new." (nytheatre.com)
The Oxford Roof Climber's Rebellion
by Stephen Massicotte, Directed by ROGER DANFORTH
"The drama of this riveting play could not be more timely...excellent new play... first-rate performances" - Wilborn Hampton, The New York Times "These 95 minutes are among the most sophisticated and absorbing currently on a New York stage... it glows with an uncommon intelligence." Karl Levett, Backstage
Bulrusher
by Eisa Davis, directed by Leah C. Gardiner
NOMINATED FOR A PULITZER PRIZE IN DRAMA
Eisa Davis "tickles the ears of her listeners [and] the effect is haunting... Ms. Kajese and Ms. Guevara.are drawn to each other emotionally and physically [and] their moving scenes on the banks of the pebble-strewn river, well designed by Dustin O'Neill, feel utterly true " - Andrea Stevens, The New York Times