The Neo-Futurists: BodyWhat was the personal career trajectory guiding Chiang and Myers’s different paths? In a rehearsal video on the Lucky Plush site, Chiang talks about thinking that, after landing in Chicago post-college, he would go around town with “a suitcase full of headshots, and I would give those headshots out to everyone who casts people,” with the aim of then becoming wildly successful in theater and film.
Chiang tells me, “We wanted [the piece] to center around ‘How did we get into this? How did I get into theater? How did I start acting? How did Mindy get into dance? How did she start dancing?’ So we thought, ‘Let’s give voice to that in the piece and then build choreography or like movement and staging around that idea and try to pace it, piece it all together.’ So it feels like it’s autobiographical in that way.
The process of working together without being in physical proximity presented challenges, of course. Says Myers, “The hours we’ve spent in person are far less than the times we’ve spent on Zoom. And we did a voice memo practice, so we were leaving just copious amounts of little memos over the last year and a half. Talking about the process and then also fulfilling it with content.” Myers adds, “I don’t know about Kurt, but I’ve never worked like that before.
“We were doing tours that were postponed from the pandemic, so we had those on the schedule. But in terms of going back in a studio, a lot of our ensemble members have babies, so there is concern about that [in the pandemic],” says Rhoads. “Lucky Plush has always had long-term ensemble members. They move on, different things happen, sometimes they come back.
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