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¡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 of alienation in a stratified world.

Production History
May 1-3, 2015: HERE Arts Center :: New York City, NY
May 10 – 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

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Happiness Is A Warm Gun

Happiness is a Warm Gun (2014)

Happiness is a Warm Gun (2014)

Happiness Is A Warm Gun
a devised work of The LIDA Project

This six-part performance exploration of gun culture and violence deconstructs the American gun debate. From freedom to fear, our complex relationship with firearms, and the role they play in our society is one of the most polarizing issues of our generation. From the inside it has become a cornerstone of the ideological “Culture War” with players on both sides staking uncompromising positions, making broad claims and dehumanizing anyone who may disagree with their perspective. From the outside it looks like a high-stakes game being played by people with endless resources, who play loose with the rules and only let you play if you buy into their brand.

It is a game.

A trivial pursuit where we chase one another around in circles gathering facts and assembling parts and pieces in a race to win the grand prize- the right to call our opponent wrong. The right to call ourselves true american.

This is where the LIDA Project’s exploration begins. With a circle…

“We’re losing that level of intimacy in American theater. The fourth wall is becoming a fourth cinderblock wall where that connection with the audience isn’t as tangible as it used to be.”
– Tommy Sheridan

Production History
October 10 – December 20, 2014 : site specific residences :: Denver, CO

Media Coverage
LIDA Project performances bring gun discussions into living rooms – The Denver Post
The LIDA Project takes aim with Happiness is a Warm Gun – Westword

The Company (Direction)
Carol Bloom
Robin Davies
Nancy Flanagan
Sinjin Jones
Erika Kae
Tommy Sheridan
Kenny Storms

Ensemble
Kenneth Berba
Logan Custer
Dell Domnik
Caty Herrick
Sinjin Jones
Erika Kae
Ren Kolozak
Iona Leighton
Jihad Milhem
J. Edward Nelson
Ben Turk
Madison Ritter

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The Works

Part I: Raw
Three soldiers from different eras in American history find themselves on common ground as they explore the existential reasons for their meeting. Directed by Carol Bloom with performances by Ren Kolozak, Jihad Milhem, Ben Turk, & Madison Ritter.

Part II: The Happy Couple
The Gods intervene in this chapter to manipulate a couple who believe their lust for power entitles them to happiness. Drected by Nancy Flanagan with performances by Dell Domnik, Caty Herrick, Iona Leighton, & J. Edward Nelson.

Part III: Kamikaze
Reality TV comes to the living room with this high-energy work about sensationalism and extremes. Directed by Sinjin Jones with performances by Caty Herrick, Sinjin Jones, Ren Kolozak, & Madison Ritter.

Part IV: Mind the Machina
A young man is trying to discover the keys to a better life and takes a journey into a world of madness. Directed by Erika Kae with performances by Kenneth Berba, Logan Custer, Iona Leighton, & Ben Turk.

Part V: Between The Middle
Two people attempt to play a game of chess but mistrust leads to a debate on rules and strategy. Directed by Kenny Storms with performances by Caty Herrick, Erika Kae, & Ben Turk.

Part VI: Beep
Following a tragic event, a couple struggles to reconcile personal beliefs with reality. Directed by Robin Davies with performances by Dell Domnik, Iona Leighton, and J. Edward Nelson.

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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 Independent

The Company
Direction: Brian Freeland
Dramaturgy: Murray Ross
Text Design: Jeannene Bragg / Brian Freeland
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

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* 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, and Petra Ulrich.

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Watershed (Part II): Soiled

Terry Burnsed, Jaime Lujan, & Miriam BC Tobin in Watershed (Part II: Soiled). Photo: Brian Freeland (2013).

Terry Burnsed, Jaime Lujan, & Miriam BC Tobin in Watershed (Part II: Soiled). Photo: Brian Freeland (2013).

Watershed (Part II: Soiled)
devised work of Jeannene Bragg, Brian Freeland, and The LIDA Project*

The second in a two part play built in collaboration between The LIDA Project and Metro State University. Watershed is a modern performance fantasy that looks at the character of water in a world of radically changing politics and climate. This meta-media work combines elemental water, high tech projection, and human performance that pushes the boundaries of performance presentation and political theatre.

“The nature of the performing arts tends to shy away from topics of environmental concern and a political nature. Artists have the opportunity to make a point and spark important conversations.”
– Brian Freeland

Production History
August 23 – September 21, 2013: work | space :: Denver, CO

Media Coverage
Metro and the LIDA Project partner on Watershed, an artistic look at global warming – Westword

The Company
Direction: Brian Freeland
Text Design: Jeannene Bragg
Costume Design: Jeannene Bragg
Sound Design: Brian Freeland

Ensemble
Rhea Amos
Terry Burnsed
Jaime Lujan
Anson Nicholson
Kenny Storms
Miriam BC Tobin
Dane Torbenson

*This production was created with the support and collaboration of Metropolitan State University. Development collaborators:  Rhea Amos, Jeannene Bragg, Terry Burnsed, Brian Freeland, Jaime Lujan, & Miriam BC Tobin.

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Watershed (Part I): The Sea Is Not Full

Watershed (Part I: The Sea Is Not Full) (2013).

Watershed (Part I: The Sea Is Not Full) (2013).

Watershed (Part I: The Sea Is Not Full)
a devised work of The LIDA Project*

The first part of a modern performance fantasy that looks at the character of water in a world of radically changing politics and climate. This meta-media work combines elemental water, high tech projection, and human performance that pushes the boundaries of performance presentation and political theatre.

“The nature of the performing arts tends to shy away from topics of environmental concern and a political nature. Artists have the opportunity to make a point and spark important conversations.”
– Brian Freeland

Production History
July 10 – 13, 2013 : The King Center :: Denver, CO

Media Coverage
Watershed, an artistic look at global warming – Westword
My night at LIDA Project’s Watershed – CultureWest

The Company
Direction: Brian Freeland
Text Design: Jeannene Bragg
Stage Manager: Kristen Littlepage
Costume Design: Jeannene Bragg
Lighting Design: Jacob M. Welch
Master Electrician: Kenrick Fischer
Projection Design: Brian Freeland / Tammy Williams
Scenic Design: David Lafont w/ Alex Polzin
Sound Design: Brian Freeland / Anson Nicholson

Ensemble
Rhea Amos, Terry Burnsed, Alexander Tate Freeland, Michelle Hurtubise, Jaime Lujan, Matthew Schultz, Miriam BC Tobin, Clio Torbenson, Dane Torbenson, Tian Torbenson, Allyxandra Townend & Ryan Wuestewald

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This production was created with the support and collaboration of Metropolitan State University.

* Development collaborators:  Rhea Amos, Jeannene Bragg, Terry Burnsed, Brian Freeland, Michelle Hurtubise, Kristen Littlepage, Laura Lounge, Jaime Lujan, Matthew Schultz, Miriam BC Tobin, Allyxandra Townend, & Ryan Wuestewald.

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Prison / Street / Prison

Prison / Street / Prison (2013)

Prison / Street / Prison (2013)

Prison / Street / Prison
an original collaboration between RedLine, The LIDA Project, & The SOURCE Theatre Co.*

As part of Redline Denver’s exhibit, Not Exactly: Between home and where I find myself, The LIDA Project & SOURCE Theatre artistic directors Brian Freeland & Hugo Sayles created a first hand testimonial work giving voice to the connection between homelessness and incarceration.

Production History
June 13 – 29, 2013 : RedLine :: Denver, CO

Media Coverage
Cycles of Street to Prison address the line between homelessness and incarceration – Westword
The Art of Homelessness – Westword

The Company
Direction: Brian Freeland / Hugo Jon Sayles
Lighting Design: Kenrick Fischer
Scenic Design: David Lafont
Projection Design: Brian Freeland
Sound Design: William Burns / Max Peterson
Not Exactly Curators: Chad Kautzer / Robin Gallite

Ensemble
Jeff Campbell
Corin Chavez
Tim Johnson
Parnell McGee
Lorenzo Sariñana
Kenny Storms

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* Development collaborators:  Jeff Campbell, Corin Chavez, Brian Freeland, Tim Johnson, Parnell McGee, Lorenzo Sariñana, Hugo Jon Sayles, & Kenny Storms

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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

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