https://restlessproductionsnyc.org Restless NYC | Mallory Catlett Sun, 25 Aug 2024 17:28:57 +0000 https://restlessproductionsnyc.org en http://restlessproductionsnyc.org/HOME Sun, 25 Aug 2024 17:28:57 +0000 Restless NYC | Mallory Catlett 454076 RESTLESS NYCUPCOMINGBarcelona, Map of Shadows @ NYU Skirball Center&nbsp; FALL 2026 RECENT Rainbird @ Mabou Mines April 16-20, 2025 WORKBARCELONA, MAP OF SHADOWS RAINBIRDM/F FUTURE - DECODER &amp; DEAD TIME OF PLENTY THIS WAS THE END&nbsp; &amp; ARCHIVE Rii &amp; AS YOU LIKE ITABOUT SUPPORTPRESS STAY IN TOUCH&nbsp; &nbsp;&nbsp; &nbsp;&nbsp; &nbsp; www.mallorycatlett.net “Memory and image, literary ghosts and an actual possession all phase together in Mallory Catlett’s sublime &nbsp;This Was The End”&nbsp; - TimeOut NY &nbsp;★★★★★ Restless excavates the theatrical and literary record as a source for contemporary performance - to engage the past in a dialogue about its life in the present. Founder and director Mallory Catlett brings a disruptive energy to the “canon” and finds inspiration in experimental literature to expand what the theater can contain. The dismantling and re-purposing of stories that have already been told is a practice in transformation; an attempt to create openings, to find a way out, and forward. Thoughts on Time Travel:We have to dig up the dead&nbsp; again and again because only from them can we obtain a future. Necrophilia is love of the future.&nbsp; - Heiner MuellerTime, understood as a dimension of experience equally accessible to each and every one. A phenomenon that resists reduction and definition. Time as a medium of music and the arts that transcends chronological and efficiency-oriented regimes. But also: Time as an political category that determines the ways in which we live, work and produce – a concept and invention in service of ideological and economic interests; an instrument of power setting the beat and dictating the rhythm; a dimension of the imaginary that influences our vision of futurity and hence our freedom of action. Time as a notion of agency for contemporaries, individuals and societies.&nbsp; &nbsp;- Maerz Music Festival In a culture of fast-moving surfaces&nbsp; of glitz and blitz, rememberance is the first step to revolution. To remember is to situate and locate ourselves in the flow of time, that drama of history--and the possibility of a better future. Subversive memory requires a selective invocation of exemplarary movements, institutions, and figures that can shake us out of our contemporary ruts and routines and&nbsp; transform us into wounded helpers and wounded healers from the wounded hurters we too often are.&nbsp; -&nbsp; Cornel West RESTLESS NYCUPCOMINGBarcelona, Map of Shadows @ NYU Skirball Center&nbsp; FALL 2026 RECENT Rainbird @ Mabou Mines April 16-20, 2025 WORKBARCELONA, MAP OF... http://restlessproductionsnyc.org/Future Sun, 04 Jun 2017 19:15:24 +0000 Restless NYC | Mallory Catlett 180379 RESTLESS&nbsp; NYC M/F FUTURE &nbsp; concert performance installation&nbsp; multi-media performances based on novels, based on &nbsp;dreams of the future. an inquiry into gender, prophecy and practice. one made with all men, the other all women.&nbsp; <img width="5000" height="3333" width_o="5000" height_o="3333" src_o="https://cortex.persona.co/t/original/i/1de43959e771068f8fa9901156ab31a3109c56ea9c85c56c237bce420aafd004/Mallory_Catlett-10.jpg" data-mid="230261" border="0" />DECODER 2017/Burroughs <img width="5000" height="3333" width_o="5000" height_o="3333" src_o="https://cortex.persona.co/t/original/i/3aacf4f0e56adb7cc1a28da5c55a6ad9e09ec262c6f89c9301fce86bd73af537/_MG_7957.jpg" data-mid="230262" border="0" /> DEAD TIME OF PLENTY/Lessing www.mallorycatlett.net RESTLESS&nbsp; NYC M/F FUTURE &nbsp; concert performance installation&nbsp; multi-media performances based on novels, based on &nbsp;dreams of the future.... http://restlessproductionsnyc.org/Past Sun, 04 Jun 2017 19:15:10 +0000 Restless NYC | Mallory Catlett 180378 RESTLESS&nbsp; NYC <img width="3504" height="2336" width_o="3504" height_o="2336" src_o="https://cortex.persona.co/t/original/i/92bf97a33199e33e3ffbabd35e59f1a64cac3a4e3a7843541611f39ac4d10431/rii-87-of-112.jpg" data-mid="230259" border="0" data-scale="100"/> Rii/Shakespeare <img width="3008" height="2000" width_o="3008" height_o="2000" src_o="https://cortex.persona.co/t/original/i/c8b7a71ced454b44078fb4db42f203f993f272eb086ce2dbf3563ff25f083786/AYLI021.JPG" data-mid="230260" border="0" /> AS YOU LIKE IT/Shakespeare &nbsp; www.mallorycatlett.net RESTLESS&nbsp; NYC Rii/Shakespeare AS YOU LIKE IT/Shakespeare &nbsp; www.mallorycatlett.net http://restlessproductionsnyc.org/About Wed, 31 May 2017 21:19:49 +0000 Restless NYC | Mallory Catlett 179508 RESTLESS&nbsp; NYC About&nbsp; Paradise is not rest, but restlessness. - Helene Cixous Restless excavates the theatrical and literary record as a source for contemporary performance - to engage the past in a dialogue about its life in the present. Founder and director Mallory Catlett brings a disruptive energy to the “canon” and finds inspiration in experimental literature to challenge theatrical convention and expand what the theater can contain. Restless recognizes and embraces the contested space of the “classics” as a way to talk about time and language as human constructs, that can be transformed.&nbsp;The dismantling and re-purposing of stories that have already been told is a practice in transformation; an attempt to create openings, to find a way out, and forward. According to Sufism those who are on guard and in love find no rest.This restlessness produces energy for further contemplation and searching of&nbsp; the mind to prepare the psyche for the appearance of the real self. Institutional Support The NYC Women’s Fund for Media, Music and Theatre by the City of New York Mayor’s Office of Media and Entertainment in association with The New York Foundation for the Arts, Pioneer Works, Watermill Center, Nancy Quinn Fund, a program of the Alliance of Resident Theatres/New York (A.R.T/New York), Chocolate Factory, Creative Capital, Creative Opportunity Fund A.R.T./NY, Mount Tremper Arts, Theatre Conspiracy, Playwrights Center, CultureHub/La Mama, Gibney Dance, MacDowell, Performing Garage, Barishnykov Arts Center, Chashama, Lower Manhattan Cultural Council, Mabou Mines/SUITE, Collapsable Hole, Foundation for the Contemporary Arts, Jerome Foundation, Yaddo, NYSCA, Collectuve Fund and piece by piece productions. Private DonorsJanet Clancy, Paul Lazaar, Toni &amp; Pete Peters, Jill Mueller, Charles Weishar, Francis &amp; Ray Fox, Joan Smith, Cynthia Strickland Graham, Elizabeth Shellabarger, Janet &amp; Chuck Williams, Studio Allegro, Susan &amp; Bill Catlett, Toni Catlett, Emily &amp; Steve Plesser, Kristina Musser, Elaine &amp; Richard Ottaway, Sue Joffray, Elizabeth &amp; Bill Bayne, Suzanne &amp; George Harris,Jill &amp; Mick Nightengale, Jubilith Moore, DD Kugler, Geoff Proehl, David Nochimson, Jan Marie Miliani, Lisa Nelson, Anna Rabinowitz, Aaron Landsman, Aaron Siegel, Abby Mueller, Alexandra Rosenberg, Alexis Clements, Alison Fleminger, Amy Jensen, Andrew Mueller, Andrew Weems, Anna Ishida, Anna Kohler, Annie Dorsen, Anonymous, Antje Oegel, April Matthis, artepovera, Ashton Applewhite, Aya Ogawa, Ayn Hanna, Barbara Lee, Ben Williams, Bertie Ferdman, Birgit Huppuch, Boo Froebel, Brad Rothbart, Bruce Allardice &amp; Victoria Abrash, Carissa Adams &amp; Emily Catlett, Carleigh Welsh, Caroline Chavasse, Carrie Schneider, Charles Jarden, Christina Campanella, Christina Hatherly, Christopher Barnett, Claire French/ Restless Productions (YVR), Daniel Brunson, David A. Brown, David Cote, David Herskovits, David Malloy, David Nochimson, David Suehsdorf, Deborah Zlotsky, Denise Kiernan, Diane Borger Zampi, Dina Emerson, Dodds Delzell, Dorrie Williams, Dylan Baker, Ed Hicks, Edward McKeaney, Edward Prunoske, Elizabeth Johnson, Elizabeth Seamans, Eric Cadora, Eric Dyer, Eric Steinberg, Erin Palmer, Francesco DeBaggio, Frank Hentschker, Gary Winter, George Hofheimer, Gioia Fonda, Gordon Wang, Grant Neale, Gwenessa Lam, Heather Hollingsworth, Heather Mourer, Helene Lesterlin, Hillary Gardner, Hunter Canning, Ian Belton, Ilana Brownstein, Jacob Margolin, James Findlay, James Maxwell / Restless Productions (YVR), Janet D Clancy, Janet Williams, Jean Churchill, Jeanette Yew, Jeanne Drennan, Jennifer Gibbs, Jenny Schwartz, Jessie Mueller, Joanna P. Adler, Joe Lo Truglio, Joe Stackell, John Haskell, John Jesurun, John Lutterbie, Jon Lane, Jonathan Dembrow, Joseph Silovsky, Joshua Higgason, Julian Mesri, Julie Archer, June &amp; Gregory Crane, Kate Benson, Kate Scelsa, Katie Pearl, Kay Grigar, Kelli Powell, Kevin Laibson, Kim Weild, Kim Whitener, KJ Sanchez, Kristin Marting, Kristina Gitterman, Laryssa Husiak, Laura Quigley, Laura Tietjen, Leah Nanako Winkler, LeeAnne Hutchison, Libby King, Lida Nosrati, Lisa D’Amour, Liv Cummins, Liza Lorwin, Loren Toolajian, Madeleine Oldham, Maedhbh Fiona Mc Cullagh, Marion Holt, Martha and Richard Nochimson, Martha Steketee, Mary Q Archias, Matthew Maguire, Maury Landsman, Michael Barakiva, Mike Perillo, Mirit Tal, Mitchell Riggs, Moira Brennan, Nicholas Senn, Nichole Gantshar, Nick Benacerraf, Oliver Butler, Olivia Keister, Paul Walsh, Paul Zimet, Philippa Wehle, Polly Carl, Rachel Catlett, Rachel Chavkin, Rachelle Plante, Randy Perry, Rebecca Warner, Richard Maxwell, Rina Liddle, Rupert Nesbitt, Sallie Sanders, Sandra Bumgarner, Sarah Caldwell, Sarah Cameron Sunde, Satya Bhabha, Scott Shepherd, Scott Sowers, Scott Sparvero, Shannon Harris, Sixto Wagan, Stephanie Fleischmann, Susan Bernfield, Sylvan Oswald, Tal Yarden, Tanya Marquardt, TaraFawn Marek, Tarik O’Regan, Teddy Nicholas, Teresa Connors, Thomas Crochunis, Thomas Parnell, Timothy Carlson, Tom Shragg, Tony Torn, Trish Mulholland, Vallejo Gantner, Will Bond, William Cusick, Yelena Gluzman. Mallory Catlett’s CV Mallory Catlett’s headshot www.mallorycatlett.net RESTLESS&nbsp; NYC About&nbsp; Paradise is not rest, but restlessness. - Helene Cixous Restless excavates the theatrical and literary record as a source for... http://restlessproductionsnyc.org/Present Wed, 31 May 2017 03:19:44 +0000 Restless NYC | Mallory Catlett 179254 RESTLESS NYC&nbsp;&nbsp; <img width="5000" height="3333" width_o="5000" height_o="3333" src_o="https://cortex.persona.co/t/original/i/c5e2547e533ecc3a4a1490e9279ba89ff0916ec2d543984046e597c854e38e66/735A8653.JPG" data-mid="228561" border="0" data-scale="100"/> THIS WAS THE END/Chekhov <img width="950" height="600" width_o="950" height_o="600" src_o="https://cortex.persona.co/t/original/i/bef453571f7e25da1457a85d9721625489196e1d05115d0ec55a7f93d9a22256/TPG3-950x600.jpg" data-mid="228563" border="0" /> Archive : This Was The End www.mallorycatlett.net RESTLESS NYC&nbsp;&nbsp; THIS WAS THE END/Chekhov Archive : This Was The End www.mallorycatlett.net http://restlessproductionsnyc.org/Press-1 Mon, 17 Aug 2015 23:34:03 +0000 Restless NYC | Mallory Catlett 177677 RESTLESS NYC PRESS DECODER&nbsp;DECODER: Ticket That Exploded&nbsp; @ Pioneer Works . . this experiential, postdramatic production is undeniably strong.&nbsp; The cacophony of media is deliberately overwhelming, but the execution of each component is faultless.&nbsp; Video by Keith Skretch is sharp, disturbing, and powerfully disorienting.&nbsp; G. Lucas Crane’s live manipulation of sound and video is unfailingly specific, and he does it all while performing with the formidable Jim Findlay. - The Review HubPut This On Your Radar -DANCELOG.NYC DECODER: Ticket That Exploded&nbsp; @ Pioneer Works . . provides an intriguingly avant garde, visually arresting, and even at some points funny volley in the crusade against conventionality.&nbsp; - Culture Catch . . .&nbsp; the questions Decoder poses become all the more urgent. The larger issue&nbsp; is how we respond to the information we are fed: do we accept the reality it presents, reject it entirely, or cut up the book and make our own story from its scraps? In any case, Decoder makes it clear that an internal revolution has already begun—and yes, it will be televised. - &nbsp;Emily Cordes Theater is Easy PuSh 2016: Decoder 2017For an hour we were bombarded with a story of sorts, broken up and reassembled. The sound played, rewound, stuttered, and while Crane was doing a LOT of work, there was also something about it which seemed effortless, flowing naturally from the man, through machines. The spoken word also contained its fair share of word and phrase repetition, starts and stops, almost as if Findlay was a machine himself. It was structured but it was also on the fly . . . it was inspired and innovative and lacked pretense.“ – Canada’s GEIST&nbsp; Decoder 2017:&nbsp; Cutting&nbsp; Up the Reality Studio &nbsp;"The Decoder project attempts to reprocess the mass media, the viral images and words that keeps us blinded in our cave, Decoder 2017 confronts the audience with homeopathic doses, decadent antibodies, of what Burroughs calls the “ugliest pictures in the dark room,” precisely in order to inoculate the audience against these viral entities (Burroughs, Nova Express, 13)." – AMMERMAN CENTER’S BIENNIEL 2018 ART AND TECHNOLOGY SYMPOSIU THIS WAS THE END Critic’s Pick:&nbsp;‘This Was the End,’ a Spectral Riff on Chekhov Chekhov wrote in a naturalistic style; Ms. Catlett prefers a supernatural one. A meditation on memory and decay, This Was the End... is less of a play and more of an apparition, a ritual, a haunting in one act. Its first scene is an extended hallucination in which Peter Ksander’s set, goosed by Keith Skretch’s video, appears to flicker and spasm. – NEW YORK TIMES How Senior Theatre is Forging Ahead The actors reencounter their previous selves through projections and audio recordings, as they count pills, sit on a swing, dart in and out of doors, and run in circles around a giant, life-size cabinet with sliding doors, a set piece repurposed from the Mabou Mines Studio at Manhattan’s PS122. . .”The show offers an expansive notion of what it is to get older,” Catlett says. “I’m interested in drawing that out of the actors. You see flashes of their younger selves.”– AMERICAN THEATRE Critic’s Pick &amp; 5 Star Review: THIS WAS THE ENDMemory and image, literary ghosts and an actual possession all phase together in Mallory Catlett's sublime This Was the End, a postmodern séance for, among other things, downtown New York. Built as a palimpsest over half-remembered scenes from Uncle Vanya, the video-rich work plays with old media and new, using a quartet of older actors to imply a performance that has been going on, somewhere, for decades. – TIME OUT NEW YORK Performing Age: Mallory Catlett’s This Was The End We see aged performers running, dancing, making out, fighting, and also trying to remember lines, trying to remember what happens, trying to remember where they were when it all happened. The performers don’t pretend to forget: they deliberately never fully learned their lines. As Catlett points out: “The piece required no memorization. Text was triggered or improvised. [The actors] had a working knowledge of the material, but actually needed to sort of forget it to play the scenes correctly.“– HOWLROUND Vanya Machine: Mallory Catlett’s ‘This Was The End’ ...as the projection begins to pulse and vibrate, to list to one side, then the other, take on new textures, contract and expand as an electronic soundtrack builds in intensity. Recorded memory, this impressive feat of technological choreography suggests, is mutable, subject to infinite varieties of manipulation.– THEATRE TIMES Rehearsing Tomorrow: Mallory Cattlet’s ‘This Was the End’The idea of duplication, inherent in rehearsal and theatrical performance, permeates the production.... ...what makes the ending of Vanya moving, the anguishing struggle of these characters to find meaning in the remainder of their lives shines through, perhaps a bit more brightly, with the frailty of age baring itself to view.– HYPERALLERGIC Trompe-l’oeils disjuntivos de Mallory Catlett –QUESTÃO DE CRÍTICA AWARDS &amp; FUNDING2014 Obie Awards - Special CitationCreative Capital Nancy Quinn Fund Creative Opportunity Fund 2014 Bessie Award - Best Visual DesignFor a theater set seamlessly doubled by video projections, echoing the role of memory with its odd tricks and resurrections in the profoundly unified and moving production. American Theater Wing’s Henry Hewes&nbsp;Design Award - Notable Effects “this was a design masterpiece, easily the best use of music and video I have seen by American designers... a theatrical sculpture of music and imagery that acted as both agent and comment on the power of memory.”- HELEN SHAW, NOMINATOR RESTLESS NYC PRESS DECODER&nbsp;DECODER: Ticket That Exploded&nbsp; @ Pioneer Works . . this experiential, postdramatic production is undeniably strong.&nbsp;...