| Open: 02/20/18 Close: 03/04/18
SOUND HOUSE is inspired by the haunted and often funny sound worlds of idiosyncratic 20th century British composer Daphne Oram, inventor of Oramics, a precursor to the synthesizer. This multi-strand sound-generating machine serves as a structural model for an architectonic play in which disparate eras, worlds and time signatures collide as Daphne’s present-day alter ego, Constance Sneed, investigates the condition of invisibility that plagues her, too, and envisions a world in which old ladies do not die alone or forgotten.
The collaborators have developed the play not only as text but as a “multidimensional object” -- precisely constructed yet constantly shifting -- in which sound not only carves out story, but functions as an experiential road map to the distortions of time and space that are central to Oram's ideas. Their mission: create a true “sound house,” an immersive sonic experience.
The cast for SOUND HOUSE will feature Vicky Finney Crouch (Piper Theatre Productions), James Himelsbach (The Talking Band’s The Room Sings at LaMama; The Assembly’s I Will Look Forward to This Later at The New Ohio), and Susanna Stahlmann (Hedda Gabler with Wandering Bark Theatre). The design team will include Sound Design by Tyler Kieffer and Brandon Wolcott (Signature Plays at Signature Theatre Company; The Profane at Playwrights Horizons), Set Design by Marsha Ginsberg (Master at The Foundry Theater; Angel Reapers with Signature Theater), Costume Design by Olivera Gajic (God’s Ear with New Georges/Vineyard Theater; This Was the End at The Chocolate Factory), Lighting Design by Kate McGee (The Hunger Artist at The Tank; My Lingerie Play at Rattlestick Playwrights Theater), and Movement by Brendan Spieth (Those Lost Boys: 10 Year Reunion at Ars Nova).
Performances will be Tuesday, February 20 at 8pm, Wednesday, February 21 at 7pm, Saturday, February 24 at 2pm & 7pm, Sunday, February 25 at 2pm, Thursday, March 1 at 7pm, Friday, March 2 at 3pm, Saturday, March 3 at 7pm, and Sunday, March 4 at 2pm.
About the Company: New Georges
New Georges, founded in 1992, is one of New York City’s premiere downtown theaters, a strategically small company with a national reputation as a hub and a launchpad for the most adventurous theater artists (who are women) working today. Through productions of boundary-pushing new plays, several varieties of play development programs, and our indispensable workspace, The Room, we support the largest ongoing working community of women theater artists in New York City and have launched an unprecedented generation of women playwrights and directors. Honors for New Georges, its plays and its people include 3 Obie Awards, The Lilly Award, the Susan Smith Blackburn Prize and the Kesselring Prize, and New York Magazine has called New Georges an “important, risk-taking organization.” Notable productions include Hilary Bettis’ Alligator, directed by Elena Araoz, the first production in The Sol Project; Kate Benson’s 2015 Obie Award-winning A Beautiful Day in November on the Banks of the Greatest of the Great Lakes, directed by Lee Sunday Evans; Marielle Heller’s The Diary of a Teenage Girl, directed by Sarah Cameron Sunde and Rachel Eckerling; Eisa Davis’ Angela’s Mixtape, directed by Liesl Tommy; Jenny Schwartz’s God’s Ear, directed by Anne Kauffman; Heidi Schreck’s Creature, directed by Leigh Silverman; Sheila Callaghan’s Dead City, directed by Daniella Topol; and Lisa D’Amour’s Anna Bella Eema, directed by Katie Pearl; we have provided critical early-career opportunities to additional playwrights and directors who include Lucy Alibar, Rachel Bonds, Rachel Chavkin, Rachel Dickstein, Portia Krieger, Maria Mileaf, Lila Neugebauer, Jen Silverman, Diana Son, Kathryn Walat, Tracey Scott Wilson, Anna Ziegler and many more.