Founded by choreographer Austin McCormick, COMPANY XIV fuses Dance, Theater, Circus, Opera, Burlesque, and Decadent Design to Create One of a Kind Theatrical Experiences.
I have been the lighting designer for this company since 2012. Recently I have also done projections and puppet design for the company.
SET + COSTUME by Zane Philstrom
Conceived and Directed by: Judith Smith @ The Ontological Theater
Sets + Lighting by: Jeanette Oi-Suk Yew
Elegy for a Vacant Lot, an adventurous work of movement theater, combines scored and real-time sports forms, riffing on sport as both a kind of dance and a mode of true collective improvisation. A play-by-play radio broadcast gives rise to the voice of a poet, who, out of the state of collective play finds first a language for collective memory, and then a singular, intensely intimate voice, equal parts joy and pain. Elegy positions itself at the intersection of disciplines, influenced as much by the playfulness of jazz improvisation as it is by theater or dance; dispensing with theater's fixed notion of 'character,' the performers play the piece like a sport. With text freed from the burdens of linear narrative, Elegy celebrates the pleasure of language for its own sake, seeking out a sense of meaning closer to music than to story. The work's state of play is rooted in a fluidity of roles--as one player becomes another--and forms--radio play-by-play becoming poetry, dance becoming sport.
Opera by Wolfgang Amadeus Mozart
Directed by: Isabel Milenski @ John Adams Playhouse, NY
Sets by: Jian Jung
Costumes by: Sarah Cubbage
Opera by George Frideric Handel
Directed by: Erwin Maas @ Atlantic Stage 2
Sets by: Jian Jung
Costumes by: Amanda Seymour
Written + Directed by: Aya Ogawa @ HERE Arts Center
Sets + Costumes by: Clint Ramos
Projections by: Jeanette Oi-Suk Yew
Written by Erik Ehn
Directed and Puppet Design by Janie Geiser
Sets by Ken MacKenzie
Costumes by Soojin Lee
A Project of the Center for New Performance @REDCAT, LA
It was a full stage puppet theater work, incorporating actors, a range of puppetry forms, shadows, and projection, to create an atmospheric world of escalating tension, where appearances are deceiving and no one can be certain of anything. Erik Ehn’s script, based on Edgar Allen Poe’s story William Wilson, explores the idea of the doppelganger, a figure/concept which undermines our notions of a unified or stable “self”, and often arouses curiosity and fear. The doppelganger suggests a construction of meaning through the metaphor of the body. In this production, these puppet bodies shift in scale, and are double by human performers.
Target Margin Lab 2016 @ HERE Arts Center
Invited to be one of the four lead artists to approach The Iceman Cometh by Eugene O’Neill in new and radical ways. I conceived and directed an audio and live-action puppetry animation journey into the sobering minds of the wax figures who were once proud and ambivalent drunks at Harry Hope’s bar.
"Jeanette Oi-Suk Yew's consistently inventive Act IV, which combines puppetry and video with Merlin Whitehawk's startling, intense, even gymnastic live performance of Hickey's self-loathing confession." - NY Times by Laura Collins-Hughes
The Huffington Post by Bess Rowen - The Iceman Experimenteth: Part III
Chromatic Presence is a responsive lighting installation with a grand piano. Invoked by the performance of a pianist, it seeks to augment musical phrases with a lyrical play of light and color. For this exhibition, the piano is John Lennon's White piano.
This installation is part of ON SILENCE, a group exhibition of New York-based artists whose work addresses the concept of silence in visual art, using the peculiar juxtaposition of two distinctly diverse texts on silence: Silence, by premier Japanese novelist Shusado Endo, and the compilation of lectures by the late American composer and theeorist John Cage of the same title.
This is a collection of lighting design images from various productions.