Selected work, 2010 - 2023
Deep Time Network, 2018 - 2023
An episodic solo performance that merges science fiction storytelling with live electronic music. Stories of loss and heartache are told across multiple times, staging an aural journey into a future just as dreary as our present.
Episode one, Deep Time Network, explores the relationship of artistic legacy and time travel through a faux radio program. The host receives emails from the future, but instead of newsletters and spam, he gets poems and personal lamentations from the future’s unsung heroes. Toured to 14 cities in 2018, including performances at The Glove in Brooklyn, AS220 in Providence, and The Drugstore in Kansas City.
Episode two, The Necropolis, narrates the development of a vast supercomputer on Pluto where the ultra-wealthy upload their consciousness to outlive death. The episode dialectically explores the history of this fictitious machine as well as the class conflicts, trolling, protests, and terrorist actions responding to this technological upheaval. The piece tells far-future stories of interstellar travel by these undead humans and the empires which grow in their wake, contextualized with historical and contemporary questions about co-existence, technological development, and the necessity of death in society. Performed at Agatha’s and the Buffalo Humanities Festival in 2022, and The Festival of Original Theatre at the University of Toronto in 2023.
The Tempest, 2017
Directed by Evan Moritz for the Baltimore Annex Theater.
A ship wrecks on an island that rests between galaxies – somewhere between the rational waking world and the magic dream world. Inhabitants from both these worlds collide as Prospero is forced to confront their past life and conquer their deep-seated lust for vengeance. Shakespeare’s play was set on a large oval central table. Audiences were invited to a seat at the banquet table where an intimate, vibrant performance unfolded before them, almost overwhelmingly close.
︎︎︎Review: DC Metro Theatre
Flatland, 2016
Co-directed by Evan Moritz (with Isa Leal) for the Baltimore Annex Theater.
A play about a two-dimensional world visited by a three-dimensional being, adapted from the 1888 Edwin A. Abbott novella. Flatland explores concepts of hierarchy and personal freedom in a journey through progressively higher dimensions and through multiple parallel universes. This play used sonically interactive projections, near constant music, and saturated lighting to create an environment that conveyed an instructional math and science aesthetic while maintaining an action-driven plot.
︎︎︎Review: Baltimore City Paper
︎︎︎Watch: Exerpts | Full Video
The Magic Flute, 2015
Directed by Evan Moritz for the Baltimore Annex Theater.
︎︎︎Reviews: Baltimore Sun | City Paper
The Potatoes of August, 2014
Directed by Evan Moritz for EMP Collective.
A genre-defying play by Sybil Kempson about the horrors of the development of intelligence and self recognition. A group of potatoes become self-aware and seek global dominance. We used a combination of puppetry, video, and costumed actors to convey the often implausible stage directions of Kempson’s play.
︎︎︎Review: Baltimore City Paper
The Left Hand of Darkness, 2013
Directed by Evan Moritz for the Baltimore Annex Theater.
Adapted for the stage from Ursula K. Le Guin’s seminal science fiction novel.
Fantastic Planet, 2010
Directed by Evan Moritz for the Baltimore Annex Theater.
Humans live as pets and pests to a benign alien species. Based on the animated film by Rene Laloux and adapted for the stage by Annex company member and writer Tim Paggi. We worked with over forty artists from around Baltimore to create a wide variety of psychedelic creatures and a thirteen-piece band to flesh it out with a live acid-jazz soundtrack.
The Baltimore Annex Theater, 2008-2018
In 2008, I co-founded The Baltimore Annex Theater as a warehouse venue and performance collective specializing in new works and radical theatrical adaptations of cult and classic works. Over a decade, The Annex produced over 50 plays, 3 national tours, weekly community classes, and become a leader for experimental theater and interdisciplinary performance in Baltimore. Most importantly, the Annex helped to create a thriving experimental performance culture in the city that extends beyond the traditional theatre space, embarking into unknown creative territory where risk is everything and the strange is cherished. I served as Artistic Director through the company’s 10 years.
