Seán Curran Company celebrates our 20th anniversary with an evening of dance with live music written and performed by Grammy award-winning ensemble Third Coast Percussion. Nine exceptional dancers look back at the company’s history, reimagining the hallmark Abstract Concrete, and look forward, continuing their investigation into human connections and relationships with the premiere of Everywhere All the Time.
We hope you will support this important milestone and join us for the premiere at Alys Stephens Performing Arts Center at the University of Alabama at Birmingham on October 5 or our New York City season at Brooklyn Academy of Music’s 2018 Next Wave Festival on October 24 – 27. We are thrilled to mark our 20th anniversary, to share in Third Coast Percussion’s BAM debut, and to honor our late collaborator Diana Balmori’s legacy by sharing this new program with you! Much work remains to be done – but we’re almost there, and we’re counting on your generosity.
A leit motif from his youth as an Irish step dancer to his days an original cast member of STOMP!, percussion music permeates Curran’s spirited, postmodern work. Its inherent rhythm serves as the beating heart of the robust Abstract Concrete. First performed at Central Park in 2000, the work is being reimagined with original music by Third Coast Percussion and ensemble member David Skidmore and new costumes by Liz Prince. Mark Randall’s timeless black and white visual design reveals unconventional couplings as Curran’s choreography seeks again and again to answer the question of how we define ourselves. Who dances with whom. Who pairs off and who is left alone.
Delving deeper, Everywhere All the Time contemplates the essential yet conflicted relationship of humans with the world as it excavates the primordial nature of percussion music. The new work includes music by celebrated Irish composer Donnacha Dennehy; clear tubing stretched from the musician's’ mouths to the head of the drums creates tension to stretch and change the sounds of percussion instruments in his innovative composition. Music is akin to weather – bombastic moments of thunder punctuate a sustained soundscape, acting as metaphor for an internal storm of emotions raging fitfully below the surface. Quiet moments – droplets, eddies – take on heightened meaning; a quartet flows across the stage recalling an ocean wave, as regular yet as visually and sonically arresting as the tides.
The visual design for Everywhere All the Time is the work of the late Dr. Diana Balmori, a renowned landscape architect. Long influenced by natural forms and biological processes, her series of five translucent, stretched screens made of branch shaped profiles of varying densities alternately mask and reveal layered interactions among dancers and musicians. The interplay of darkness and light bewitches the eye and manipulates the mind. Contributions by collaborators Liliana Casabal (costumes), Robert Wierzel (lighting) and Mark Randall (design) lure performers in and out of Balmori’s penumbra.
Everywhere All the Time is Seán Curran Company’s 30th original artistic work. The project has received commissioning funds from BAM and the Alys Stephens Performing Arts Center and has been awarded grants from the National Endowment for the Arts, The Graham Foundation, and the NYU/Tisch Dean’s Fund.
Seán Curran Company (Curran Events, Inc.) is a non-profit organization as defined under Section 501(c)(3). Contributions are tax-deductible to the full extent as allowed by law.
Risks and challenges
All live performance projects carry inherent risk, and – like all of our company’s works – this ambitious collaboration has involved intensive dance and music rehearsals, design meetings, photoshoots, grant applications and contract negotiations. Seán Curran Company has proven capacity to manage largescale, professional productions. This project has been a labor of love for the three years, and our creative team is committed to sharing this celebratory evening of dance and music with the public.
Fortunately, we have been given support along the way by our lead commissioners, Brooklyn Academy of Music and Alys Stephens Center at The University of Alabama at Birmingham, as well as funding from The National Endowment for the Arts, The Graham Foundation, The Harkness Foundation for Dance, and The NYU/Tisch Dean's Fund. We’re almost there and, with your help, we will continue our record of success into the next 20 years!Learn about accountability on Kickstarter
- (30 days)