HAPPY TO SEE YOU: WILD PROJECT (WRITER, DIRECTOR AND PERFORMER)
We the audience played a vital role as both subject and spectator, with the piece highlighting the seductive anxiety of overexposure. The remote-controlled drone was hella entertaining...Where will the drone perform next?
REMOTE: KNOCKDOWN CENTER, FIRST PERSON VIEW (WRITER, DIRECTOR AND PERFORMER)
REMOTE: TROUW/NEW MUSEUM, AUNTS FOR CAMERA (WRITER, DIRECTOR AND PERFORMER)
While the different perspectives enabled by the camera mounted on the drone itself were engaging enough, the truly compelling aspect of the installation are the staging of intricate hand dances performed in response to such queries as “Show me what you can do.”
The presentation of hand dances more than anything served most effectively in my opinion to invite a consideration of dance as an interface for critical engagement. By focusing on a simple appendage, Francis’ work does more than any of the other exhibits for getting the viewer to consider the dance form of choreography as an interface in and of itself.
Saturated color in Cara Francis's REMOTE might signify human individuality, but images of blindfolded bodies and depersonalizing AR drone aerial shots, jerky framing and limbs detached by editing pull things in a completely opposite direction. An interesting and ominous tension.
COMPLETE AND CONDENSED STAGE DIRECTIONS OF EUGENE O'NEILL (DESIGNER AND PERFORMER)
We are in a playroom for a company dedicated to frolic and mess. - http://www.washingtonpost.com/entertainment/theater_dance/a-different-look-eugene-oneil--through-his-plays-stage-directions/2012/04/20/gIQAX2hVWT_story.html
The ensemble morphs into two characters before our eyes and offers grace and theatricality that rivals the best of Anne Bogart and Julie Taymor. - http://www.stageandcinema.com/2011/09/12/complete-condensed-oneill-vol
Cara Francis does wonders here. My favorite pieces were the metallic shark headpieces, reminiscent of tin-foil hats; the red life raft in "Thirst" and the powder boxes disguised as books in "Servitude." The clocks on the wall, designated for six of the seven plays, are also a nice touch for setting the time of day. - http://www.backstage.com/bso/reviews-ny-theatre-off-off-broadway/the-complete-condensed-stage-directions-1005349382.story
an impish illustration of how lively entertainment can be created from theatrical spare parts. - NY Times Critics Pick: (Charles Isherwood), http://theater.nytimes.com/2011/09/13/theater/reviews/neo-futurists-present-stage-directions-from-oneill-plays.html
TOO MUCH LIGHT MAKES THE BABY GO BLIND (WRITER, DIRECTOR AND PERFORMER)
FANTASY GRANDMA (WRITER, PERFORMER)
Delightfully batty...Funny? You bet. Still, the strokes are not broad: the pair gracefully, creatively and subtly embodies a range of contrasting qualities that provoke cognitive dissonance and fascination: young/old, hip/dowdy, gentle/painful, love/anger, defiance/resignation, funny/serious.
I had the opportunity a couple weeks ago to sit in on an audition for an upcoming comedy festival and one of the performing groups has haunted the recesses of my mind ever since. Its name is Fantasy Grandma.