RD image credit: Daniel Jack Lyons
A piano recital featuring only the page turner. A radio program hot on the trail of a whistleblower hiding in plain view of the audience.
Radio Delirio imagines a classical concert taken over by the man no one was even meant to notice. While dutifully minding the score, the page-turner weaves his own show over the music: a news expose-cum manhunt-cum chronicle of a precarious sense of self. The language of investigative news is employed - warped and digressed from - counterpointed by a layered, hyperkinetic physical score.
Drawing on the culture of surveillance and whistleblowing scandals, Radio Delirio presents a tragicomic take on assimilation, derailment, and fear of inconsequence.
Radio Delirio has been developed over the course of a series of rehearsal phases and through performing arts residencies at YADDO and P.A.R.T.S. A work-in-progress segment was presented in Fall 2016 as part of Little Theatre at Dixon Place and as part of CUNY’s 2016 Prelude Festival.
WHY THIS PROJECT? (from lead artist Alessandro Magania)
A couple of years ago I came across an article implicating the C.I.A. in a failed drug trafficking case following leads given by a couple of eyewitnesses that had been involved in the procedures. The article was in a small, independent outlet, and the revelation never made it past a small online community. I was struck by how some of the sources, the whistleblowers, were cited by name, airport and embassy officials that had gone on record with potentially highly implicating secret information, and began to hypothesize about the magnitude in which this action might have affected their lives, in rapport with the inconsequential outcomes. Did they foresee possibly being incriminated? Had they hoped their revelation would blow up to a bigger level? Did they go into hiding?
What if someone had found comfort in both the self-marginalization yielded by this predicament, and the implied state of notoriety, would they possibly avoid finding out the true outcomes of their whistleblowing? Having lived the majority of my life outside of the country in which I was born and raised (Italy) I’ve always been conscious of the degree to which one can choose to assimilate into the social fabric that surrounds them, and how connected that is to a sense of accomplishment - and to insecurities - in the immigrant experience.
The counter-narrative of Radio Delirio pieces together the story of a man who has found solace in the state of anonymity into which he claims he’s been forced by circumstances. It has given him an excuse to extract himself from a game he feels has no regard for him. The radio program that he envisions positions him as the subject of public attention while affirming his need to stay in the shadows. The idea of someone claiming to be wanted by authorities for whistleblowing is not used to suggest paranoia, but as a contemporary expression of self worth - a heroic gesture, or even just an effort to expand beyond an inconsequential life.
WHAT THE FUNDS ARE FOR / WHY WE NEED YOU:
We have been given an exciting opportunity to present a full two-week run of this project as part of The Performing Garage Presents** series in June 2018. The Performing Garage Presents is a curated home for the work of visiting artists who are developing and presenting work as part of The Wooster Group’s forum for new art and artists.
We're heading back into a final development phase during a concentrated three-week rehearsal period in May/June and will move into The Performing Garage on June 11 for a two-week show run through June 24.
The short timeline we’re working with to make this a reality means that we need YOU to help us make it happen. Funds received through this Kickstarter campaign will be used to pay our team’s artist fees including our lead artist, two additional performers, a professional pianist, director, line producer and design team. The ability to pay our artists at fair and equitable rates would allow for our team to devote the focused time needed in a three-week rehearsal period and during a two-week run to complete the development of the piece and show it at its best. Over the past two years, we have been seeking the right time and place to put up this piece in a full production so this timely opportunity is of great importance to us.
For tickets to the premiere in June, click HERE!
**The Performing Garage Presents is supported by the New York City Department of Cultural Affairs in partnership with the City Council.
**This production of Radio Delirio has been supported, in part, by a Foundation for Contemporary Arts Emergency Grant
CURRENT (and past) TEAM OF COLLABORATORS:
- Alessandro Magania (writer, choreographer, performer)
- Kim Macron (performer)
- Mickey Solis (performer)
- Geoff Sobelle (director)
- Simone Peretti (production designer)
- Dallas Estes (lighting)
- Andrew Maillet (sound)
Jae Kyo Han (music performed by)
- Emma Johnson (stage manager)
- Sandra Garner (producer)
Previous collaborators who've contributed to the project along the way and whom we'd like to particularly thank for their time and work:
- Steve Cuiffo
- Shae d’Lyn
- Glenn Fitzgerald
- Ben Williams
Alessandro Magania is a New York-based performing artist working in theatre, dance and film, originally from Bologna, Italy. In addition to performing he has recently began creating his own work, experimenting with storytelling forms, counter-narratives, and ways in which to employ his lifelong passion for motion, transition and incongruities. He has presented pieces at Prelude Festival (Martin E. Segal Theatre Center, NYC) and Dixon Place (NYC), and received residencies from P.A.R.T.S. (Brussels), YADDO, and ToyKraft (NYC). He has performed in works by, among others, The Wooster Group, Eliza Bent, Sibyl Kempson, Target Margins, Peter Petralia, Andrew Ondrejcak, and Tereke Ortiz, in live and video installations by artists Roman Ondak, Diller Scofidio + Renfro, Jarrod Beck, and Viva Ruiz, and in a handful of feature films. Festivals and venues include The Holland Festival, Edinburgh International Festival, Dublin Theater Festival, SESC Pompeia (Sao Paulo), Mil Santiago (Chile), and Miami Art Basel. He co-authored the screenplay for Asia Argento's 2004 film 'The Heart is Deceitful Above All Things' (Cannes Film Festival), and in 2012 made the documentary 'There Were Always Dogs Never Kids' (Special Mention Prize - Milano MIX Festival, Italy). Magania has also directed and edited video works featured by Visionaire, Artforum, and Newness.
Kim Macron studied fine arts and art history at Pratt Institute. She has collaborated with visual artist-and-poet Hannah Raine-Brenner on two year-long poetry projects and a series of visual art projects. Kim was a bassist for many years, playing venues throughout NYC with music groups Tongues (2008-2010) and Wintergreen (2010-2014). She has been collaborating with Simo Peretti since 2011 on music (Wintergreen, 2011-2014), set design (movies 'Gutboy', 2015, and 'From the Outside', 2016), and collage projects (ongoing video collages and cut-paper collages). Kim works in advertising - primarily commercials - as a set decorator. Kim first worked with Alessandro in his and Kourtney Rutherford’s piece Hardcore (Dixon Place, 2014).
Mickey Solis New York and Off Broadway credits: the American premier of Ivan Viripaev's ILLUSIONS (Baryshnikov Arts Center), An Orestia (Classic Stage Company), God of Carnage (Engeman Theater), White People (Ensemble Studio Theatre), Night Over Taos (INTAR, directed by Estelle Parsons), The Master and Margarita (Fisher Center), Beckett at 100 (92nd St. Y with Alvin Epstein and Bill Camp), Error of Their Ways (HERE Arts Center), and Private Moments in Central Park directed by David Levine for Creative Time. Regional Theater: Most recently Tristan in the New England Premier of The Effect (Gloucester Stage) with Lindsey Crouse, Brad Hall, Susannah Hoffman and directed by Sam Wiseman, also Yale Repertory; American Repertory Theater; Dangerous Ground (Brooklyn); Triad Stage; Appalachian Summer Festival; New College Theater; Moscow Art Theater; Epic Theater; Shakespeare on the Sound; Kentucky Shakespeare Festival. Other performances: Susan Marshall Dance Company, The Japan Society, The Ohio Theater, Wang Center for the Performing Arts, The Berkshire Playwright’s Lab, Playwrights Horizons, The Actors Studio. Film & Television: michigan (writer), Lament for the Artist (co-writer), Fall North, Man With Van, Law & Order, Law & Order: SVU, Person of Interest, Blacklist, Blind Spot, Mysteries of Laura, Girls. Mickey has taught acting at NYU's Tisch School for the Arts and The Florida State Thespian Festival. Mickey is also a screenwriter. He studied comparative religion at Western Michigan University and earned his MFA at The Institute for Advanced Theater Training at Harvard University.
Geoff Sobelle is an actor, director and creator of original performance works. A dedicated absurdist, he uses illusion, film and home-spun mechanics to create surreal, poetic pieces that look for humanity where you least expect it and find grace where no one is looking. His work is deeply collaborative and reflects long-time partnerships with other independent artists. His most recent works include: HOME (recently presented at BAM Next Wave) and The Object Lesson (BAM Next Wave ’14, Bessie Award, Edinburgh Fringe First, Total Theater, and Best of Edinburgh Awards), which was presented last season at New York Theatre Workshop. Other recent work includes: Hear Their There Here (a site-specific sound installation currently at St. Ann’s Warehouse); Holoscenes (an aquatic performance/installation created with Lars Jan) and Pandaemonium (a multi-media dance piece created with Nichole Canuso and Lars Jan). His work with Trey Lyford under the name Rainpan 43 includes: all wear bowlers (a dreamscape clown vaudeville - Drama Desk Nomination), Amnesia Curiosa, (a cabinet of curiosities, spirits and forgotten family), machines machines machines machines machines machines (a rube-goldberg-inspired junk play - Obie Award for Dufala Bros’ design) and Elephant Room (a surreal magical spectacle created with Steve Cuiffo). Independent work includes Flesh and Blood & Fish and Fowl (a comedy about human extinction - Edinburgh Fringe-First award). Before coming to New York, Geoff lived in Philadelphia where he created and performed original works with Pig Iron Theater Company for twelve years. Geoff was among the first teachers at the Pig Iron School, an accredited two-year physical theater training program in Philly. Other Philadelphia collaborations include: Headlong Dance Theatre, Subcircle, NCDC and Thaddeus Phillips Intercontinental. Almost all of his original works have premiered at the Philadelphia FringeArts Festival. In New York, his work has been seen at BAM Next Wave, St. Ann’s Warehouse, New York Live Arts , HERE Arts Center, BRIC, Clubbed Thumb and Bard College; nationally in Philadelphia (Fringe Arts), Boston (Arts Emerson), Washington DC (Studio Theater), Minneapolis (Walker Arts Center), Columbus (Wexner Center), San Francisco (Curran, Theater Artaud), Berkeley (Berkeley Rep), Los Angeles (Kirk Douglas Theatre), La Jolla (La Jolla Playhouse); internationally in the UK (Edinburgh Fringe Festival, London Mime Festival/Barbican); France (Paris Festival d’Ete); Germany (Ruhrfestspiele); Poland (Konfrontacja Teatralne Festival); Australia (Sydney Festival, Perth Festival, Commonwealth Games); South Korea (BIPAF), New Zealand (NZ Festival), Taiwan (Taipei Arts Festival). Geoff is a Pew Fellow and a Creative Capital grantee. He is a graduate of Stanford University and trained in physical theater at the Lecoq school in Paris.
Simone Peretti Born in the Ligurian coast of Italy, Simone spent most of his childhood playing around his dad’s workshop. There he learned furniture building, painting and sculpting. After moving to NYC he began designing sets for advertising campaigns by Martin Schoeller, Stefano Azario, and Jake Chessum, among others. Together with his wife, Kim Macron, he created the sets for the stop-motion movie "Gutboy" (2015) and Luis D'Arpa's film "From the Outside" (2016). He has previously collaborated with Alessandro Magania, designing set pieces and performing in Hardcore (2014, Dixon Place). Simone lives in New York with his wife Kim where he collaborates on various projects with family and friends.
Jae Kyo Han began his piano studies at the age of 4. Early on he began to compete, receiving top prizes in several competitions such as NEPTA, and MMTA, and was a finalist in the 14th Chiang Wen-Yeh International Young Artist Piano Competition. During his undergraduate studies at Brandeis University, Jae won the school’s concerto competition and graduated Magna Cum Laude with Highest Honors in Music. He was also twice selected to perform in Weill Recital Hall at Carnegie Hall, both times as winner of the American Fine Arts Festival. Jae has also participated in piano festivals in New York City (The Beethoven Institute, IKIF), Austria (Mozarteum International Summer Academy), and England (Oxford Philomusica). In 2010, Jae moved to New York City to pursue further musical studies. He received his Master’s for piano performance at Mannes College for Music in 2013. Since completing his degree, Jae has established his teaching studio in Brooklyn, started working as a piano tuner, and runs a small music center, 88 Keys. He is also an active volunteer with the organization, Sing for Hope, as the project leader at the NY Memory Center.
Sandra Garner is an independent New York-based producer working through her company Lingua Franca Arts, which is dedicated to the development, support and presentation of international contemporary performing arts projects. Projects and groups have included 13P, Banana Bag & Bodice, Summer Play Festival, Glasgow-based Tumult in the Clouds, Christine Jorgensen Reveals, Gary Winter, Oye Group, Radiohole, Operating Theater Company, Nellie Tinder, James Allister Sprang’s GAZR: Life Does Not Live, Howard Fishman’s A Star Has Burnt My Eye, Christina Masciotti’s Raw Bacon From Poland, Andrew Schneider’s YOUARENOWHERE and AFTER, Suzanne Bocanegra and Patricia Noworol. Lingua Franca Arts is about cultivating a common language among artists, art forms and audiences.
Risks and challenges
We recognize the challenge of raising substantial funds in a short period of time and our primary risk in this particular case will be the inability to pay our artists and collaborators at a fair rate if we're unable to meet our fundraising goal. If this were the case, we would discuss lower, subsidized hourly rates for rehearsals and discounted flat fees with our full team. We would consider trimming our planned rehearsal period to cut costs as well.Learn about accountability on Kickstarter
- (30 days)