Photo courtesy of So Percussion
Where (we) Live
"The range of colors and voices that So Percussion coaxes from its menagerie is astonishing and entrancing."
"When we leave [our] homes, our four members unite to create another artistic home, with its own unspoken rules and expectations; its own rhythm of interaction, its own banalities and mystery."
Jason Treuting of So Percussion
Painted Bride Art Center
230 Vine Street (map)
$29 / Members save 30%
Student and 25-and-under tickets $20
So Percussion Eric Beach, Josh Quillen, Adam Sliwinski, Jason Treuting
Guest Artists and Collaborators Directed by Ain Gordon; Grey McMurray (musician); Martin Schmidt (visual artist); Emily Johnson (choreographer); Mike Purcell (violin maker); Jason Roberts (metal worker); Jonathon Zilber (home brewer)
Past Festival show
Bang on a Can Marathon (2011).
Photos courtesy of So Percussion
This presentation of Where (we) Live has been supported by The Pew Center for Arts & Heritage.
The world's most adventurous percussion group forges a wild exploration into contemporary music presentation with a composition about experimentation, collaboration, and how our homes influence our personalities. Dance, theater, and video artists as well as guest artisans—a violin maker, a metal worker, a brew master—join So Percussion onstage to add unpredictable layers of sound and imagery.
Relationships bound by space, time, sound, and memory form the basis of what a home is. Where (we) Live builds its own artistic home and then invites the unknown to "come on over." The result is an innovative, risk-taking concert that pushes the boundaries of musical performance.
Interview with Jason Treuting of So Percussion
FringeArts: What was the initial inspiration for this show?
Jason Treuting: We started with these ideas about what made thriving neighborhoods and communities, mostly Jane Jacobs's ideas of successful communities and we began to look at our own "homes" in that way. We began to think about how we could look at our artistic home in that way, a more inclusive way. And we began experimenting to see what would make sense in an evening. It took off from there.
FringeArts: How has the show evolved since its first performance?
Jason Treuting: I would say the show has evolved a ton from the first time we put the music on stage. We would try things out in smaller, intimate venues along the way and I'm not sure you'd always recognize the pieces from the first times out to now. Big, big shifts in direction and reworking of text and music and concept along the way. But, from the premiere at the Walker Art Center in Minneapolis, the structure of the show has stayed the same and held together. Within this structure, there are two big wild cards each night and I think that is where lots of the evolution has happened. With Emily's role, we are all getting better and better at navigating that unknown in a graceful way. And in addition, each night a different guest from the town we are playing join us on stage. Often, this is a visual artist or crafts person.
FringeArts: How does the addition of a guest artisan affect the performance?
Jason Treuting: We've been able to explore lots of new territory depending on who is joining us. And each night is very different, depending on if it is a noisy addition like a blacksmith or a furniture maker or if it is an intimate addition like a cartoonist or a potter. Each night becomes really special with a one-night-only vibe built in.
About Sō Percussion
Sō Percussion is: Eric Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting
Since 1999, Sō Percussion has been creating music that explores all the extremes of emotion and musical possibility. Called an "experimental powerhouse" by the Village Voice, "astonishing and entrancing" by Billboard Magazine, and "brilliant" by the New York Times, the Brooklyn-based quartet's innovative work with today's most exciting composers and their own original music has quickly helped them forge a unique and diverse career.
Excitement about composers like John Cage, Steve Reich, and Iannis Xenakis - as well as the sheer fun of playing together - inspired the members of Sō to begin performing together while students at the Yale School of Music. A blind call to David Lang, Pulitzer Prize-winning composer and co-founder of New Yorkâ€™s Bang on a Can, yielded their first commissioned piece, the so-called laws of nature. Sō's recording of the so-called laws of nature became the cornerstone of their self-titled debut album on Cantaloupe Music (the record label from the founders of Bang on a Can). In subsequent years, this relationship would blossom into a growing catalogue of exciting releases: Steve Reich's masterpiece Drumming; Sō member Jason Treuting's Amid The Noise; Treasure State, a collaboration with the electronic duo Matmos; and Paul Lansky's Threads.
Sō's ongoing body of original work has resulted in exciting new projects such as the site-specific Music For Trains in Southern Vermont and Imaginary City, a fully-staged sonic meditation on urban soundscapes commissioned by the Brooklyn Academy of Music for the Next Wave Festival 2009 in consortium with 5 other venues.
Sō Percussion is increasingly involved in mentoring young artists. Starting in the fall of 2011, its members became the Co-Directors of a new percussion department at the Bard College-Conservatory of Music. This top-flight undergraduate program enrolls each student in a double-degree (Bachelor of Music and Bachelor of Arts) course in the Conservatory and Bard College, and exposes them to both traditional western conservatory training and a variety of world traditions. The summer of 2009 saw the creation of the annual Sō Percussion Summer Institute on the campus of Princeton University. The Institute is an intensive two-week chamber music seminar for college-age percussionists featuring the four members of So as faculty in rehearsal, performance, and discussion of contemporary music for students from around the world.
Sō Percussion has performed their unusual and exciting music all over the United States, with concerts at the Lincoln Center Festival, Carnegie Hall, Brooklyn Academy of Music, Stanford Lively Arts, the Cleveland Museum of Art, and many others. In addition, recent tours to the United Kingdom, Russia, Australia, Italy, Germany, Spain, and the Ukraine have brought them international acclaim.
With an audience comprised of "both kinds of blue hair... elderly matron here, arty punk there" (as the Boston Globe described it), Sō Percussion makes a rare and wonderful breed of music that both compels instantly and offers rewards for engaged listening.
Ain Gordon is a three-time Obie Award-winning writer/director/actor, a two-time NYFA recipient and a Guggenheim Fellow in Playwriting. Current projects include, Not What Happened, a new play for the BAM Next Wave Festival with touring engagements at Vermont Performance Lab, Connecticut College, Flynn Center for the Performing Arts (VT), and The Krannert Center (IL), etc; and writing and directing If She Stood for the Painted Bride Arts Center supported by the Pew Center for Arts & Heritage (PA). Previously commissioned/developed/presented by New York Theater Workshop, Soho Rep., The Public Theatre, 651 ARTS, Dance Theater Workshop, Performance Space 122, Baryshnikov Arts Center, the Kitchen Theatre, and HERE Arts Center (all NY); the Mark Taper Forum (CA), the George Street Playhouse (NJ), MASS MoCA, Baltimore Museum of Art (MD), DiverseWorks (TX), Spirit Square (NC), VSA North Fourth Arts Center (NM), Jacob's Pillow (MA), LexArts (KY), and Dance Space (DC), etc. Gordon's 2003 work; Art Life & Show-Biz; A Non-Fiction Play, is published in Palgrave Macmillan's "Dramaturgy Of The Real On The World Stage." Gordon twice collaborated with choreographer Bebe Miller on works presented at the Wexner Center (OH), Myrna Loy Center/Helena Presents (MT), and Bates Dance Festival (ME), etc. Collaborations with David Gordon were commissioned/produced by ART (MA), ACT (CA) and AMTF (PA). Gordon was in the original Off-Broadway cast of Spalding Gray: Stories Left To Tell and toured the production to venues including UCLA Live, TBA Festival at PICA (OR), The ICA Boston (Elliot Norton Award nom), the Walker Art Center (MN), and New Territories (UK), etc. Gordon also wrote for NBC's "Will & Grace." Gordon is a former Core Writer of the Playwright's Center in Minneapolis, was the inaugural Visiting Artist at the Pew Center for Arts & Heritage 2011-2013, and is currently a Resident Artist at The Hermitage (FL), a member of the Center for Creative Research, and Co-Founder of the Urban Memory Project. Gordon has been Co-Director of the Pick Up Performance Co(s) since 1992.
Aaron Copp: Recent projects include designs for Natalie Merchant's Leave Your Sleep tour, Yo-Yo Ma's Silk Road Ensemble, Philip Glass' Orion and Laurie Anderson's Homeland (in collaboration with U2 production designer Willie Williams). Aaron has long worked in the dance world, and recently received his second New York Dance and Performance (Bessie) Award for Jonah Bokaer's The Invention Of Minus One. Aaron is a graduate of SUNY-Binghamton and the Yale School of Drama.
Grey McMurray is a co-leader of the bands Knights On Earth and itsnotyouitsme. He has performed and/or recorded with a diverse group of musicians including Tyondai Braxton, Meshell Ndegeocello, Shara Worden, Gil-Scott Heron, Chromeo, Martha Wainwright, The BBC Symphony Orchestra, Larry Campbell and Gabriel Kahane among many others. He hopes everyday to provoke joyful tears in strangers' eyes with the power of music.
Emily Johnson is a choreographer and writer, originally from Alaska, and currently based in Minneapolis. Since 1998 she has created work that considers the experience of sensing and seeing performance. Her dances function as installations, engaging audiences within and through a space and environment - sights, sounds, smells - interacting with a place's architecture, history, and role in community. She works to blur distinctions between performance and daily life and to create work that reveals and respects multiple perspectives. Emily is a 2012 and 2011 Maggie Allesee National Center for Choreography Returning Choreographic Fellow, a 2012 Headlands Artist in Residence, and Alpert/MacDowell Colony recipient, a 2011 Native Arts and Cultures Fellow, a 2012, 2010 and 2009 MAP Fund Grant recipient, and a 2009 McKnight Fellow. Her newest work, Niicugni, premiered at MANCC/Florida State University/Seven Days of Opening Nights Festival and tours through 2013 to MassMoca, The Redfern Art Center at Keene College/Vermont Performance Lab, The Coil Festival/PS122 at Baryshnikov Arts Center, TigerTail, Arizona State University/Gammage Theater, Northrop Auditorium/O'Shaughnessy, Portland Institute for Contemporary Art, and Bunnell St. Gallery in Homer, Alaska. Please visit www.catalystdance.com
As a producer, composer, arranger, engineer or performer, Lawson White is at home in practically any musical setting. With a studio based in Williamsburg, Brooklyn, Lawson has worked with artists such as Gil Scott-Heron, Shakira, Chromeo, Santigold, Bryce Dessner (The National), Sō Percussion, Matmos, David Lang, The International Contemporary Ensemble, and The Metropolitan Opera. In addition to working on records, Lawson often produces music for film, dance, installations, and even apps, collaborating with artists such as Shen Wei, David Lang, Jonathan Parker, Sō Percussion, AngÃ©lica NegrÃ³n, and Pentagram. Outside of the studio, Lawson has been a member of or performed with artists such as Sō Percussion, Alarm Will Sound, Shugo Tokumaru, The Nashville Symphony, The Alabama Symphony, and the Rochester Philharmonic. His publishing company, Good Child Music, publishes the music of many songwriters and composers, with a catalog ranging from experimental classical to commercial. Originally from Nashville, he has a BM in Music Performance and the Performerâ€™s Certificate from the Eastman School of Music, and an MM in Music Performance from Yale University.
M.C. Schmidt is a solo sound artist and member of the band Matmos (with partner in crime Dr. Drew Daniel). Matmos has shared the stage with Terry Riley, the Kronos Quartet, Bjork, Leprechaun Catering, Marshall Allen, David Serotte, Antony Hegarty, Marina Abromovic, 12 live snails, a lemon, and probably hundreds of other people and things. Since 1993, Matmos have released at least 11 "albums" actually selling tens of thousands of actual, physical copies! Often conceptually driven, Matmos create sample-based, rhythmic sound collage. As a solo artist, Schmidt makes video art and enjoys playing freely improvised music/sound as part of The High Zero Collective in Baltimore. He is also a volunteer janitor at a record store. He is very pleased that it's all going so well so far, and tries to appreciate that fact. Communicate with M.C. and Matmos at www.brainwashed.com/matmos
Tracy Lynn Wertheimer is a freelance lighting designer based in New York City. After growing up in the Washington DC area, Tracy moved to Boston where she received a BFA in Theatrical Design/Technology from Emerson College. Tracy now resides in New York City and is thrilled to be working with companies up and down the east coast. Tracy was awarded 1st place for the Barbizon Award for Excellence in Lighting for her design of Esperanza Rising. She was also awarded the American College Theatre Festival (ACTF) Region 1 Merit Award for Excellence in Lighting Design. She was chosen by Emerson College to be a part of Who's Who Among Students in American Colleges and Universities and was awarded the 2010 Emerson College Theatre Design/Technology Award. Tracy is excited to continue pursuing her passion and following her dreams. She encourages you to do the same.