¡el Simio! or a contemporary retelling of Eugene O’Neill’s ‘The Hairy Ape’

Lorenzo Sariñana in The Hairy Ape (2013). Photo: Kenrick Fischer

Lorenzo Sariñana in The Hairy Ape (2013). Photo: Kenrick Fischer

¡el Simio! (or a contemporary retelling of Eugene O’Neill’s The Hairy Ape)
by Eugene O’Neill with translations by Lorenzo Sariñana

A story of a simple laborer trapped in a world controlled by the rich. This classic expressionist work is re-imagined as a one-man / hyper-media performance. This new bi-lingual translation and interpretation brings to the front the issues of immigration, class structure, and industrialism. First produced in 1922, the LIDA Project modernizes O’Neill’s text to address the modern themes themes of alienation in a stratified world.

Production History
May 1-3, 2015: HERE Arts Center :: New York City, NY
May 30 – June 7, 2013: work | space :: Denver, CO

Awards
Best Actor in a Drama (Lorenzo Sariñana), True West Award Nomination
Best Multimedia Integration (Brian Freeland), True West Award Nomination

Media Coverage
The LIDA Project takes on barriers of class and language in O’Neill’s The Hairy Ape – Westword
My night at The Hairy Ape – Culture West

The Company (2015 Production)
Direction: Brian Freeland
Producers: Steven J. Deidel & Annette Westerby
Stage Manager / Show Control: G. Austin Allen
Scenic Design: Sky Burks
Lighting Design: 
Anshuman Bhatia & Steven J. Deidel
Sound Design: 
Alex Hawthorn & Drew Levy
Projection Design: Steven J. Deidel & Brian Freeland
Costume Design: Annette Westerby

Ensemble (2015 Production)
Yank: Lorenzo Sariñana
O’Neill: Sonia Justl

The Company (2013 Production)
Direction: Brian Freeland
Assistant Direction: Laura Lounge
Scenic Design: David Lafont
Lighting Design: Kenrick Fischer
Sound Design: Dustin Lacy
Projection Design: Brian Freeland
Property & Costume Design: Laura Lounge

Ensemble (2013 Production)
Yank: Lorenzo Sariñana
O’Neill: Hart DeRose

¡el Simio! set for a limited engagement at HERE, NYC

Lorenzo Sariñana in ¡el Simio! (or a contemporary retelling of Eugene O’Neill’s ‘The Hairy Ape’)

Lorenzo Sariñana in ¡el Simio! (or a contemporary retelling of Eugene O’Neill’s ‘The Hairy Ape’) : Limited Engagement May 1-3, 2015 at HERE, NYC

“A procession of gaudy marionettes, yet with something of the relentless horror of Frankensteins in their detached, mechanical unawareness.”
Stage direction Scene Five, The Hairy Ape.


¡el Simio! (or a
 contemporary retelling of Eugene O’Neill’s The Hairy Ape)

by Eugene O’Neill with new translations by Lorenzo Sariñana
directed by Brian Freeland

Seating is limited.
HERE
145 6th Ave.
(Enter on Dominick, 1 Block South of Spring)
C/E to Spring

For tickets: visit here.org or call 212-352-3101
Box Office: open after 5pm on show days or 2 hours before any performance.

 

The LIDA Project will be revisiting its interpretation of the Eugene O’Neill classic, The Hairy Ape for a limited run at HERE Arts Center in NYC May 1-3, 2015. LIDA company member Lorenzo Sariñana reprises the role of Yank in this media infused interpretation. Sonia Justl (last seen at LIDA in Now I Lay Me Down To Sleep) will join in the role of O’Neill. The design team includes Anshuman Bhatia, Schuyler Burks, Steven J. Deidel, Brian Freeland, Alex Hawthorn and Annette Westerby.

The Hairy Ape, first produced in 1922, is the story of a radical laborer trapped in a world controlled by the rich. This classic expressionist work is re-imagined as a one-man / hyper-media performance. Sariñana’s new bi-lingual translation and interpretation brings to the front the issues of immigration, class structure, and industrialism.

This production is a part of SubletSeries@HERE: Co-op, HERE’s curated rental program, which provides artists with subsidized space and equipment, as well as technical support.

Media Coverage
The LIDA Project takes on barriers of class and language in O’Neill’s The Hairy Ape – Westword
My night at The Hairy Ape – Culture West

Last one out, turn off the lights…

work | space (2011-2015)

work | space (2011-2015)

The Denver work | space has been a great home for LIDA since the summer of 2011. We made 10 original works (and as many partial works) in that crazy box in RiNo…

Justin Bieber Meets Al Qaeda
Now I Lay Me Down To Sleep
Auto da Fe
Add It Up
R.U.R./ lol
Red Hot Patriot
The Hairy Ape
Watershed (Part II: Soiled)
Ludlow, 1914
Happiness is a Warm Gun

In addition to our work, work | space was the artistic home for the work of Control Group Productions, And Toto Too…, Countdown to Zero, and over 30 other production entities in a short (but sweet) three years.

Thanks to everyone who made work with us or witnessed a piece of art at work | space. Keep searching – art happens in magnificently weird places.

Onward.

Ludlow, 1914 (a dramatic vaudeville)

Erik Brevik in Ludlow, 1914 (a dramatic vaudeville) (2014).

Erik Brevik in Ludlow, 1914 (a dramatic vaudeville) (2014).

 

Ludlow, 1914 (a dramatic vaudeville)
a devised work of The LIDA Project*
presented by THEATREWORKS

It was shocking, momentous and then largely forgotten. Two dozen people were killed, including 2 women and 11 children. The Ludlow Massacre of 1914 was the most violent episode in the Colorado coal wars, which in turn was part of the deadliest strike in the history of the United States.  This post-contemporary production deconstructs the Ludlow Massacre along with contemporary issues of labor and inequality. This wild examination on the centenary of the events, creates the opportunity for audiences to explore social issues through context, both local and global.

Ludlow, 1914 is not a history lesson rather, it is a freeform exploration of the themes, both historical and current, evoked by the event: wealth inequality, worker’s rights, media bias, fossil fuel dependence. – Broadway World

Production History
September 11 – 28, 2014 : THEATREWORKS:: Colorado Springs, CO

Awards
True West Award

Media Coverage
Theatreworks and LIDA Project Explore the Forgotten History of LUDLOW, 1914
Minecraft – Colorado Springs Independant

The Company
Direction: Brian Freeland
Dramaturgy: Murray Ross
Text Design: Jeannene Bragg
Stage Management: Tim Muldrew / 
Elise Jenkins
Technical Director: Brantley Haines
Production Design: Steven J. Deidel
Scenic Design: Steven J. Deidel / Alex Polzin
Lighting Design: Steven J. Deidel / Stevie Caldarola
Projection Design: Steven J. Deidel / Ryan Gaddis
Costume Design: Betty Ross
Properties Design: Roy Ballard
Orignal Musical Composition:
Automation Programmer: G. Austin Allen

Ensemble
Rachel Baker, Erik Brevik, Terry Burnsed, Mark Cannon, Bruce Carter, Travis Duncan, Jack English, Sanaa Ford, Jane Fromme, David Hastings, Margaret Kasahara, Tom Paradise, Evan Slavens, Katelyn Sturt, Jeremiah Walter, Galen Westmoreland, & Micah Wilborn

Video

Images

* Development collaborators: Encho Avramov, Jeannene Bragg, Terry Burnsed,Steven J. Deidel, Hart DeRose, Brian Freeland, Marcie Grambeau, Jaime Lujan, Parnell McGee, Tom Paradise, Murray Ross, Tommy Sheridan, Miriam BC Tobin, Petra Ulrich,

R.U.R. / lol

R.U.R. / lol (2013)

R.U.R. / lol (2013)

R.U.R. / lol
a devised work of The LIDA Project*

Part text. Part noise. Part sound. Part image. All Robot.

R.U.R./lol, an original work loosely based on the 1920 Czech science-fiction play Rossum’s Universal Robots. At the end of humanity four robots remain. Through their controllers they work to protect what remains of the planet from a catastrophic event. The process leads them to question how we came to this end.

Production History
February 15 – March 2, 2013: work | space :: Denver, CO

Awards
Best Lighting Design (Steven J. Deidel), True West Award
Best Multimedia Integration (Steven J. Deidel, Kenrick Fischer, Kevin Zegan, Max Peterson and Brian Freeland), True West Award
Best New Play, True West Awards Nomination
Best Scenic Design (Steven J. Deidel / David Lafont), True West Awards Nomination
Best Sound Design (Dustin Lacy), True West Awards Nomination

Media Coverage
LIDA Project’s R.U.R./lol uses robots to examine what it means to be human – Westword
Photo Essay: My Night at LIDA Project’s ‘R.U.R./lol’ – CultureWest

The Company
Direction: Lorenzo Sariñana
Production Design: Steven J. Deidel
Lighting Design: Steven J. Deidel / Kenrick Fischer
Scenic Design: Steven J. Deidel / David Lafont
Sound Design: Dustin Lacy / Lorenzo Sariñana
Costume Design: Lorenzo Sariñana
Projection Design: Steven J. Deidel /Brian Freeland / David Lafont / Max Peterson

Ensemble
Robots: Rhea Amos / Hart DeRose / Laura Lounge / Heidi Pachner
Controllers: Kenrick Fisher / Brian Freeland / Dustin Lacy / David Lafont / Tommy Sheridan / Lorenzo Sariñana

Video

Images

 

 

Add It Up

Add It Up. Photo: Erin Preston 2012.

Add It Up. Photo: Erin Preston 2012.

Add It Up
An original interpretation by The LIDA Project inspired by the work of Elmer Rice’s 1924 drama, The Adding Machine.

Add It Up is a performance remix as interpreted by six sound, video, and performance artists from The LIDA Project. It is sound. It is light. It is music. It is words. It is images. It is machines. It is humans. It is about love. And hate. And murder. And death. And rebirth. And dancing. And eggs.

Production History
September 14 – October 6, 2012 : work | space :: Denver, CO

Awards
Best Use of Multimedia (Brian Freeland), True West Award

Media Coverage
Everything adds up as the LIDA Project embarks on its 18th season – Westword

The Company
Producer: Steven J. Deidel
Direction: Brian Freeland
Assistant Direction: Rhea Amos
Lighting Design: Steven J. Deidel / The LIDA Project
Sound Design: Lorenzo Sariñana / The LIDA Project
Costumes: Hart Derose / The LIDA Project
Projection Design: Brian Freeland / The LIDA Project

Ensemble
Hart DeRose: 0
Michelle Hurtubise: Elmer Rice
Heidi Pachner: The Boss
Lorenzo Sariñana: Her
Matthew Schultz: Mrs. 0

Video

Images

 

Auto da Fé

Trina Magness and Dan O'Neill in Auto da Fé  (2012)

Trina Magness and Dan O’Neill in Auto da Fé (2012)

Auto da Fé
An original adaptation of the book by Elias Canetti by Rebecca Gorman O’Neill.

A twisted creation developed by The LIDA Project ensemble, playwright Rebecca Gorman, and director Brian Freeland. Manipulations of darkness and light and juxtapositions of ghastly imagery help to re-imagine Canetti’s breakthrough 1935 work about a lone recluse and his infinite library of books.

Production History
May 11 – June 2, 2012: work | space :: Denver, CO

Awards
Best New Work (Rebecca Gorman O’Neill), True West Awards Nomination
Best Actor in a Drama (Dan O’Neill), True West Awards Nomination

Media Coverage
LIDA Project’s surreal Auto da Fé – The Denver Post
The Sound and The Fury – Westword

The Company
Producers: Brian Freeland, Steven J. Deidel & The LIDA Project
Direction: Brian Freeland
Words / Dramaturgy: Rebecca Gorman O’Neill
Production Stage Manager: G. Austin Allen
Lighting Design: Steven J. Deidel / Anna R. Kaltenbach
Scenic Design: David Lafont
Projection Design: Steven J. Deidel / Ryan Gaddis
Costume Design: Hart DeRose
Sound Design: Brian Freeland
Associate Sound Design / Operator: Anson Nicholson
Associate Lighting Design: Tommy Sheridan

Ensemble
Dan O’Neill: Kien
Trina Magness: Therese
Robin Davies: Doorman / Fischerle
Lorenzo Sariñana: George / Brute / Beggar / Others

Images