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The premier of The Hummm (a wacky, wild, colorful adaptation of Chekhov's Three Sisters)

December 10, 2016

On December 10th, The Hummm, an experimental adaptation of Chekhov's Three Sisters, premiered at Dixon Place to a sold-out house.


This wild performance was the culmination of three months of devising by Sarah Paton (Irina), Ali Stoner (Masha), Janice Amaya (Natasha), Katherine Wright (Olga), and Kai Chieh Tu (Director). All 2016 MFA grads of The ART/MXAT Institute for Advanced Theater Training at Harvard University, their love of Chekhov and physical theater began during a semester spent at the Moscow Art Theater School (MXAT). After graduating, the five decided to focus on Three Sisters, and specifically investigate the sounds that inhabit the world of this family - both literally and within their memories. With the addition of music composed and performed by Fedor Sokolov and Gracie Terzian, The Hummm took shape. 


The premiere at Dixon Place was only the beginning for The Hummm, and all the artists involved are looking forward to continued development and performances in 2017!


Check out the review for The Hummm in The Theater Times:


"But The Hummm mostly treats language as pretext, flooding the theater with sonorous suggestions. Music that evokes by turns the recklessness of youthful desire and the resignation of youth grown old too soon prompts wild dances that spill into the audience (we enter the theater to find our seats equipped with a note reading “BLOW ME” along with a balloon that later becomes a prop), but these explosions never quite overwhelm the sense of melancholy. Painted faces are later effaced. We hear the chugging of a Moscow-bound train. In this version, the sisters do finally get to the chimerical Moscow of their collective imagination, but their final monologues are delivered with their heads buried in metal buckets, their professions of faith in the value of work and suffering reduced to thoughts echoing inside their own heads. With the company’s timely interpolations regarding the ascent of Trump, the decline of truth, and the questionable efficacy of a woman making sound of any kind, Richard Gilman’s observation about Chekhov’s plays still applies. Their general atmosphere of defeat bespeaks a recognition, Gilman writes, “if seldom a full acquiescence in it, on the part of the characters who with one intensity or another have passed beyond illusion: love will not save me, work will not ennoble me, the future won’t rescue the present.”"


You can find the whole review at  http://www.thetheatretimes.com/chekhov-resonates-hummm-dixon-place/ 

Margaritas boil. Ice crackles. Popcorn pops. Balloons squeak. Train screeches. 


And we hum. 














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