After the final performance of Medea
met
Eleri Ward's Joe's Pub debut
Reenactment of the Battle of Barnet 1471
in Portraits, Documentary
Ruthie in Prospect Park
in Portraits
Performance of "Illusory-Self"
Illusory-Self
Choreography by Luca Renzi
Costumes by Stine Dhalman
behind the scenes portraits for Mercury Road Media
Netty
NYU TISCH Dance MFA , Class of 2019
Outtakes NYU TISCH Dance Head Shots
in Portraits
The New York Burlesque Festival
Ramiro Antonio Sandoval directs "In the Eye of the Needle"
On a rainy Monday, I stopped by Teatro LaTea, located on the second floor of the Clemente Soto Velez Cultural Center on the Lower East Side. LaTea is hosting a residency of the international theater collective Tabula Rasa whose mission statement is, among other things, to foster dialogue on an international level through artistic expression. We were invited to sit at a run through of their latest piece, In the Eye of the Needle, a funny, inventive, and ultimately poignant look at communication in the modern age. We sat down with Ramiro Antonio Sandoval, the founder and artistic director, who in the middle of an arduous day full of rehearsal was gracious enough to share his thoughts on theater, social change, diversity, and the importance of interpersonal communication.
Margarita Javier
Read conversation
2018 Lilly Awards photo booth
Monday, May 21st, 2018
the Minetta Lane Theatre
New York City
Esther performs the Smooth and the Striated
in Theater
2017 Lilly Awards photo booth
Monday, May 22nd, 2017
Playwrights Horizons
New York City.
Mimi Lein at the Imperial Theatre
Michelle Tse: And I also imagine for this show, you maybe collaborated with the other designers more than any other production. Was there one designer you worked with more closely than another? We sat down with Paloma [Young, costume designer] recently, who said your set informed her designs a lot.
Mimi Lein: Really?!
MT: Yes! And I noticed when I was at the show that when the actors are spinning around on the constructed aisles that the circumference of their dresses were literally the exact width of your aisles.
[Everybody laughs]
ML: I know! I don’t know whether it’s possible that Paloma went and calculated that, but I noticed that, too! Everytime I watch the hem of their skirts I worry that it was going to knock over something. [laughs] I mean, if Paloma has calculated that, she hasn’t told me, but I worship her. I feel like for me, a lot of the bunker is actually in response to the punk flavor of some of the ensemble costumes. We certainly talked about it in the beginning, about this being an anachronistic vision of Russia. We’re not being period specific. This is not what 19th-century Russia looks like, you know? This is maybe if you went to a nightclub in Moscow in the late ‘90s and their theme was Imperial Russia. Maybe that’s it. So that has a lot to do with the techno music that Dave [Malloy, creator and composer] composed. So it’s kind of a mashup of things.
Moodkill
Colby Minifie after a performance of "Six Degrees of Separation"
The Oscar Hammerstein II Museum Benefit
in Theater, Documentary
The Oscar Hammstein II Museum & Theater Education Center hosted a benefit at the Player's Club to in an effort to preserve the farmhouse where Hammerstein lived and worked—creating some of most iconic music.
Ramayan at the Met
in Theater, Documentary
Lyndsay Magid & Josh Aviner
JA: Of course, but fear is still really tied to circus. Even the best acting moments…you could have Meryl Streep stabbing Al Pacino on stage, and at the end of the day, you know it’s all fake. With circus, if you mess up, the danger is real…And that’s what makes fear such a fun thing to play with. Our performers totally know what they’re doing, but maybe to the audience there is a question of whether or not they’re in control of what they’re doing.
(Full Conversation)
