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HILMA
a world premiere produced in partnership with New Georges at The Wilma Theater words by Kate Scelsa music by Robert M. Johanson directed by Morgan Green June 4–23, 2024 Tickets |
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The early 20th century queer mystic and artist Hilma af Klint channeled hundreds of paintings through messages from otherworldly forces, hoping to communicate the mysteries of the universe. Only recently rediscovered and hailed as one of the first-ever abstract artists, she worked in obscurity during a time that was not yet ready to receive her message. This contemporary opera – with a score that mixes genres including opera, rock, pop, and musical theater– wrestles with the hubris and humility that fueled one woman’s spiritual quest.
Directed by Morgan Green
Choreographed by Lisa Fagan
Sets by Kristen Robinson
Costumes by Maiko Matsushima
Sound design by Chris Sannino
Cast:
Sarah Gliko
J Moliere
Brett Robinson
Kristen Sieh
Evan Spigelman
Directed by Morgan Green
Choreographed by Lisa Fagan
Sets by Kristen Robinson
Costumes by Maiko Matsushima
Sound design by Chris Sannino
Cast:
Sarah Gliko
J Moliere
Brett Robinson
Kristen Sieh
Evan Spigelman
EVERYONE'S FINE WITH VIRGINIA WOOLF
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Now published by Dramatists Play service and available for purchase here
A sharp-witted parody of a celebrated American drama, EVERYONE’S FINE WITH VIRGINIA WOOLF is, in turns, loving homage and fierce feminist take-down. Kate Scelsa’s incisive and hilarious reinvention of Edward Albee’s classic WHO’S AFRAID OF VIRGINIA WOOLF? slyly subverts the power dynamics of the original play’s not-so-happy couple. In the end, no one will be left unscathed by the ferocity of Martha’s revenge on an unsuspecting patriarchy. Produced at Abrons Arts Center in June, 2018 and at the 2018 Dublin Theatre Festival by Elevator Repair Service. More info HERE. |
“Bubbles with a love of theater at its most brazenly theatrical.” - The New York Times
"Scelsa's witty, trenchant parody of Albee's play packs a thesis-worth of critique on the way men perceive and portray skewed images of women through the distorted lens of the American patriarchy." – TheaterMania
"Scelsa has a take-no-prisoners approach to satire that sends deconstructionist theories of feminist and gender studies way up into the ether, where they flare and fizzle like fireworks." – The New York Times
“(A) breezily intertextual, polysexual, queer-feminist dance remix.” – Observer
"Kate Scelsa’s new riff on Edward Albee’s Who’s Afraid of Virginia Woolf? tears up (the) template and sticks the pieces back together like a Dadaist poem." – Financial Times
"A wild and wonderful romp that will make your head spin (as well as your belly ache from laughing.)" – Theater Pizzazz
"Scelsa's witty, trenchant parody of Albee's play packs a thesis-worth of critique on the way men perceive and portray skewed images of women through the distorted lens of the American patriarchy." – TheaterMania
"Scelsa has a take-no-prisoners approach to satire that sends deconstructionist theories of feminist and gender studies way up into the ether, where they flare and fizzle like fireworks." – The New York Times
“(A) breezily intertextual, polysexual, queer-feminist dance remix.” – Observer
"Kate Scelsa’s new riff on Edward Albee’s Who’s Afraid of Virginia Woolf? tears up (the) template and sticks the pieces back together like a Dadaist poem." – Financial Times
"A wild and wonderful romp that will make your head spin (as well as your belly ache from laughing.)" – Theater Pizzazz