DIRECTED BY JIM FINDLAY
CONCEIVED + WRITTEN BY JIM FINDLAY and JEFF JACKSON
SONGS COMPOSED BY ELYSIAN FIELDS
PERFORMERS CHRISTINA CAMPANELLA, JAMES DAWSON,
OKWUI OKPOKWASILI, LIZ SARGENT, KANEZA SCHAAL, and REBECCA WARNER, with Aleta Findlay, HyoJu Hong, Emily Pintel,
featuring Jennifer Charles, Kitty Louise, and Kate Moran on video
Set and Video Design • Josh Higgason and Jim Findlay
Sound Design • Jamie McElhinney
Lighting Design • Christopher Kuhl
Costume Design • Enver Chakartash
Dramaturg • Sissi Liu
Stage Manager • Teresa Hartmann
Assistant Director • Maurina Lioce
Production Manager • Eric Dyer
Production Coordinator • Rebecca Sewell
Production Assistants • Kathleen Bazie, Jake Denney, HyoJu Hong, Rebecca Lynne-David, Emily Pintel, Marian Smith, Katiana Rangel, Yangdi Li
Ushers • Laura Bassin, Kat Brazie, Georgina Grisold, Katie Holden, Ryan Holsopple, HyoJu Hong, Yangdi Li, Angela Mourtazalieva, Maryan Newbury, Katiana Rangel, Naomi Schegloff, Marian Smith, Simone Smith, Julia Torres, Andrew Whipple
Collaborator • Jim Dawson
Assistant Costume Design • Maurina Lioce and Christine Stevenson
Makeup Design • Naomi Raddatz
Press Agent • John Wyszniewski, Blake Zidell & Associates
Graphic Design • Jamie Leo
Producer • Joel Bassin
Jim Findlay (writer and director) works across specialties as a creator, director, designer, and performer with a constellation of theater, performance and music groups. He was a founding member and primary collaborator in both the experimentally groundbreaking Collapsable Giraffe and the internationally successful music/media performance company Accinosco/Cynthia Hopkins, as well as being a resident artist at The Wooster Group from 1994-2003. Findlay most recently wrote and directed Botanica (3LD Art + Technology Center 2011), supported with a Princess Grace Foundation residency at Baryshnikov Art Center and awards from MAP Fund, Nancy Quinn Foundation, and Bel Geddes Design Enhancement Fund. The Walker Art Center recently acquired Findlay and Ralph Lemon’s installation work “Meditation” for its permanent collection, which has been exhibited at the Walker, Krannert Center, Yerba Buena Art Center, and The Kitchen.
Findlay has been involved in every aspect of all of the Collapsable Giraffe’s performance works including Damfino (Performing Garage 1998); 3 Virgins (ShowWorld 1999); Bend Your Mind Off (Collapsable Hole, 2000 and 2001); Witch Mountain/Black Tarantula (Collapsable Hole 2001); Letters from the Earth (Collapsable Hole 2005); and Pee Pee Maw Maw/Last Crash (Collapsable Hole 2008/2009). For Accinosco, and in league with longtime collaborator Jeff Sugg, Findlay has designed sets and video for Cynthia Hopkins’ “Accidental Trilogy” – – Accidental Nostalgia (Bessie Award 2005), Must Don’t Whip ‘Um (2007), and The Success of Failure (Walker Art Center and St. Ann’s Warehouse 2009). Jim also performed in all three works. Findlay has been an associate artist of The Wooster Group since 1994. From 1995 to 2003 Findlay led the technical team and designed sets for House/Lights (Bessie for Design 1999, Obie 1999) and To You, the Birdie! (Obie 2002).
Findlay also has worked consistently with Ridge Theater and Bang on a Can since 2001 on such projects as DECASIA (Basel Switzerland 2001 and Brooklyn 2004), Shelter (BAM 2005); Oedipus, composed by Harry Partch (Peak Performances 2005), Difficulty of Crossing a Field (Peak Performances 2006), Lightning at Our Feet (BAM and US tour 2009), Steel Hammer by Julia Wolfe and performed by the Bang on a Can All-Stars (Carnegie Hall and US Tour 2009), Persephone with songs by Ben Neill and Mimi Goese and text by Warren Leight (BAM 2010), and Field Recordings by 9 composers including Ty Braxton and Christian Marclay with BoaC All Stars (Boston, London, Alice Tully Hall 2012). Other notable projects include video design for How Can You Stay in the House All Day and Not Go Out (BAM 2010) and for Saving the Princess (Lyon Opera Ballet 2009) both by choreographer Ralph Lemon; set and video design for Soltanoff/Findlay Project at Center Theater Group (LA 2011); video design for Brooklyn Babylon by Darcy James Argue and Danjiel Zezelj (BAM 2011); video design for R. Buckminster Fuller, the History (and Mystery) of the Universe at Arena Stage and A.R.T. (2010 and 2011); lighting design for Mantra Percussion Quartet’s performance of Michael Gordon’s Timber (US tour and premiering at BAM Dec 2012); set and video design for Brooklyn Omnibus and Making It by Stew and Heidi Rodewald (BAM 2010 and St Ann’s 2009); set and video design (with co-designer Jeff Sugg) of cartoonist Ben Katchor’s musical Slug Bearers of Kayrol Island (Vineyard Theater 2008, Hewes Design Award, Lucille Lortel Award, Obie Award, and Drama Desk nomination); set design for Red Fly, Blue Bottle (HERE 2009); set design for Riot Group’s Switch Triptych (London and Edinburgh UK 2005); and video design for The Tomashefsky Project by Michael Tilson-Thomas and the San Francisco Symphony (2005). Findlay received his MFA from Catholic University and his BA from Duke University.
Joel Bassin (producer) has worked with The Wooster Group, Mabou Mines, and Theatre de la Jeune Lune. Recent/favorite producing projects include Jonathan Schlieman and John Oros’ The Weiner Monologues (Access Theatre); Jim Findlay’s Botanica (3LD Art+Technology Center); Steve Cuiffo, Trey Lyford, and Geoff Sobelle’s Elephant Room (Plays & Players Theatre / Philadelphia Live Arts Festival); James Manzello and Oliver Wason’s Love In A Tub (La Mama / NY International Fringe Festival); Anita Gonzalez’s Liverpool Trading (Dixon Place); David Neumann’s Big Eater (The Kitchen); Cynthia Hopkins’ The Success of Failure (St. Ann’s Warehouse); and James Braly’s Life in a Marital Institution (59E59 Theatres); directing Kimberly Shelby-Szyszko’s Placebos Dress for Comfort (Manhattan Rep), and Brecht/ Weill’s The Threepenny Opera (Kaye Playhouse). Bassin is Chair of the Department of Theatre at Hunter College and a grateful alum of the CUNY Graduate Center (Ph.D. / Theatre) and Mason Gross School of the Arts (MFA / Directing).
Christina Campanella (performer) is a frequent collaborator of composer and visual artist Joe Diebes: BOTCH (premiere November 2013, HERE Arts Center; STEIM residency 2010), WOW: An Opera Based On The Story of Milli Vanilli (premiere January 2014, BRIC Media Arts; text by Christian Hawkey, directed by David Levine; Watermill residency 2011), HYPATIA (LMCC 2009), I/O (Theatre Garonne 2009, Toulouse, Fusebox 2008, Austin). She has appeared in works by Jim Findlay (LOVE FAIL video), Phil Soltanoff (I/O), Toni Dove (LUCID POSSESSION), Richard Foreman (BENITA CANOVA), Theordora Skipitares (A HARLOT’S PROGRESS), and the Red Clay Ramblers (WILDER), in independent films SATAN HATES YOU, THE OFF SEASON and THE ADDICTION, and with music groups Five Dollar Priest, Parker & Lily, and the avant-songstress Rebecca Moore. She has toured extensively in music and theater, including Fin de Siecle (Nantes, FR), Andy Warhol Museum (Pittsburgh), Long Beach Opera (CA), and art-rock clubs throughout the U.S. and Europe. Over the next year Christina will perform in two of Diebes’ operas, as well as compose a new music-theater piece with writer Stephanie Fleischmann (working title: SONGS FOR A DROWNED WORLD).
From 2010-12, Christina composed music and audio content for PARTS ARE EXTRA, a sound and cinema project co-created with filmmaker and visual artist Peter Norrman (NYSCA Film, Media, New Technologies award, 2011). The duo presented live excerpts in Culturemart at HERE (2012), and two 5-minute shorts from the series were featured in a gallery show, “The Balance,” sponsored by the Lower Manhattan Cultural Council (Oct 11-Feb 12). Christina began her collaboration with Mr. Norrman in 2005 as the sound-video team behind the collective Latitude 14. With Latitude 14, she and Stephanie Fleischmann spent 3 years as resident artists at HERE co-creating multimedia music-theater works RED FLY/BLUE BOTTLE – which premiered in NY in April 2009, and was shown at the Noorderzon Festival (Groningen, NL) and EMPAC (Troy, NY) – and its spin-off, TINDER (EXIT Festival, Creteil, FR, and HERE 2010), both directed by Mallory Catlett. In November 2011, her live-sound installation BREATHE (2011) was featured in “Kinetic Mandala”, a retrospective of the works of sculptor Arthur Ganson at the Kresge Gallery, NJ. An expansion upon Ganson’s sculpture “Machine With Breath” (1992), BREATHE will be presented in a showing of kinetic art at the Museum at MIT (fall 2013). Christina’s tape-loop installation and audio blog THE THING ITSELF (2008) ran continuously with changing audio content in the public restrooms at HERE from December 08-August 09.
James Dawson (performer) is a freshman at Beacon High School in New York City. He played the lead role in Juliet Lashinsky-Revene’s short film Stefan and the “Falling Boy” in Ian Old’s Bomb. He performed in Jerome Bel’s The Show Must Go On at MoMA. James has had extensive exposure to NYC’s world of downtown dance (Trisha Brown) and theater. He has had opportunities to do some rehearsal work with The Wooster Group and Findlay/Sandsmark. This fall he will work with Lily Whitsitt on Untitled Negotiation Project.
Elysian Fields (composer) Elysian Fields (composer) is led by the enigmatic co-composers Jennifer Charles (voc) and Oren Bloedow (gtr, other instruments). The music born of their collaboration is not easy to categorize. They carry a torch for nature, sex, love, the cycle of death and rebirth,
and the sounds of folk and jazz ballads, no wave and classical music, seamlessly interwoven into a style that is at once languorously romantic and tough. They have been playing and recording as EF since 1995, and most recently put out “For House Cats and Sea Fans” (2014), their ninth EF release. They are also known for their Sephardic side project La Mar Enfortuna, with which they have released two albums for John Zorn’s Tzadik label. Elysian Fields have always brought an unusual rigor and otherworldly sense of nature and feeling to their work, creating a sound that defies rock ‘n roll convention, where Charles’ poetry is just as important as the delicious sounds that weave through the lyrics. Little wonder that famed music author of The Dark Stuff Nick Kent wrote “maybe we have their out-of-the-mainstreamness to thank for a sound that is still unique — as sensual as a sleepwalker’s wet dream.” Jennifer and Oren have also recorded/played with countess other artists from John Zorn to Antony, Lovage to JG Thirlwell… They are thrilled to create these songs for Dream of the Red Chamber and hope to release an album of the material in the near future.
Teresa Hartmann (stage manager) was born and raised in Brooklyn, NY. In 2005 she was interning for The Wooster Group when they hired her as an assistant to the director/stage manager for their production of Hamlet. Since then she has worked on all of their New York runs and toured extensively with them internationally and domestically. Work with The Wooster Group includes premieres of Cry, Trojans! (Troilus & Cressida), Troilus and Cressida (a collaboration with the Royal Shakespeare Company), Early Plays (a collaboration with New York City Players), Vieux Carré, La Didone, I am Jerome Bel, and Who’s Your Dada?!, remounts of The Emperor Jones, North Atlantic, and Poor Theater, as well as 360° video installation There is Still Time..Brother. Other New York credits include: directing Pinter’s The Lover (78th Street Theater Lab), assistant directing Three Sisters (LaMama ETC), producing Athol Fugard’s Statements After an Arrest Under the Immorality Act (FringeNYC), stage managing Cherí (The Actor’s Studio), The Flid Show (Medicine Show), and many readings and workshops at Ensemble Studio Theater. She has a B.A. in English Literature from CUNY Brooklyn College.
Joshua Higgason (set & video designer) is a designer and creator of visuals, multimedia, and interactive objects for live performance. Josh is a founding member of Workhorse, a New York–based multimedia company that designs and produces visual content for large-scale projection mapping projects, industrial events, concerts, and interactive multimedia installations. He has worked and toured nationally and internationally with Sufjan Stevens, Big Dance Theater, Jay Scheib, Jim Findlay, Bang on a Can, Pig Iron, and Christine Jones’ Theater for One. His work has been seen at such venues as Carnegie Hall, BAM, Theatre National de Chaillot (Paris), Philadelphia Live Arts Festival, HERE, PS 122, The Flea, Atlantic, Mass MoCA, Dixon Place, EMPAC, Edinburgh Fringe Festival, and in venues in Copenhagen, London, and throughout Spain. Upcoming projects include Jay Scheib’s Powder her Face for New York City Opera and World of Wires in Krakow, Paris, Boston, and Nantes, and The Builders Association House/Divided (BAM). Josh has also taught workshops on video design and interactive programming at LIU in the graduate program of New Media Art.
Jeff Jackson (co-writer) is a writer, curator, and editor currently living and working in Charlotte, North Carolina. He writes fiction and plays, as well as film, music, and literary criticism. Jackson’s newest novel, Mira Corpora (Two Dollar Radio, September 24, 2013) has been very postively reviewed in The Wall Street Journal, Vice, HTMLGiant, and Flavorwire picked it as “An Essential Punk Literature Read” (along with titles by Kathy Acker and William Gibson). Jackson’s short fiction Three Untitled Stories About Smoking was published in fiction anthology Userlands (Akashic Books, 2007), edited by Dennis Cooper. The book was selected by NPR as one of its “Recommended Summer Reads.” Jackson’s stories The Beach and Another Layer of Ash were chosen for the New River Fiction Fall 2009 and Fall 2010 reading series in Los Angeles and New York City. The pieces were performed by renowned actors alongside works by National Book Award winner Denis Johnson, Pulitzer Prize laureate N. Scott Momaday, and Best American Short Story winner Sharon Pomerantz. Jackson has won Dodge Foundation Fellowships to work on his fiction at the Virginia Center for the Creative Arts.
Jackson is a founding member of Collapsable Giraffe. He worked as writer on productions including Pre-Paradise Sorry Now (1996), Damfino (1997/1998), Witch Mountain Black Tarantula (2001), and Pee Pee Maw Maw/The Last Party (2007). He was the co-writer, with Jim Findlay, of Botanica. As an arts critic, Jackson has written film, book, and music reviews, profiles, and feature articles for publications including MTV Online, Blender, Sonic Net, Jazziz, and The Valley Advocate. He also runs Destination-Out (www.destination-out.com), a popular website dedicated to jazz which has been acclaimed by The New Yorker, Wired, and Playboy. Jackson’s work as an editor includes the literary anthology Topograph: New Writing from the Carolinas and the Landscape Beyond (2010), which features exclusive work from John Darnielle and Blake Butler. He also edited and wrote an introduction for an upcoming anthology of Frank Lentricchia’s fiction (Bordighera Press, 2012). Jackson serves as Arts editor for Charlotte Viewpoint, a multi-media online magazine. As an undergraduate at Duke University in 1993, he was awarded the William H. Blackburn Scholarship for Excellence in Creative Writing. He holds a BA from Duke and an MFA in Creative Writing from NYU.
Christopher Kuhl (lighting designer) is a lighting, scenic, installation and conceptual designer for new performance, theatre, dance and opera. Recent work includes This Was The End with Mallory Catlett (The Chocolate Factory); ABACUS (Sundance Film Festival, EMPAC, REDCAT); Straight White Men with Young Jean Lee (Wexner Center), The Elephant Room (St. Ann’s Warehouse, Philly Live Arts, Arena Stage, MCA Chicago, CTG); The Object Lesson with Geoff Sobell (Philly Live Arts); Quartier Libres with Nadia Beugré (New York Live Arts, Walker Art Center); Soldier Songs (Holland Festival, Prototype Festival); Ethel’s Documerica (BAM Next Wave); John Cage Song Books with the SF Symphony (Carnegie Hall);The Nether (Center Theatre Group. 2013 Ovation Award); Open Meadow (Hand2Mouth Theatre). Chris has had the pleasure of working and making art at On the Boards, The Fusebox Festival, The Kennedy Center, YBCA, Jacob’s Pillow, LA Opera, Santa Fe Opera, Beijing Music Festival, Queer Zagreb, KVS Belgium, MAC France, and Santiago a Mil Chile.In 2011 Chris was the recipient of the Sherwood, Drammy, Horton, and Ovation Awards. Chris is originally from New Mexico, a graduate of CalArts, an associate artist of Hand2Mouth Theatre, and Co-Director of Live Arts Exchange (LAX).
Maurina Lioce (assistant director) works in many aspects of music, theater, and production. She was most recently assistant director/stage manager for Jim Findlay’s Botanica, participated in The Wooster Group’s Booty Call Avant Garde-A-Rama at PS122, K Record’s What the Heck Fest, and Pearl D’Amour’s How to Build A Forest at The Kitchen.
Sissi Liu (dramaturg) is a Doctoral Candidate in Theatre at CUNY Graduate Center. Her research interests include US musical theatre, philosophy and theatre, new media art, and Asian and Asian American theatre and performance. She currently teaches at Baruch College, is a Writing Fellow at City College of NY, and has worked off and off-off Broadway as a dramaturg and a composer for musical theatre.
Jamie McElhinney (sound designer) is a New York based sound designer, engineer, and consultant. Recent sound designs include Botanica created by Jim Findlay (3LD Art & Technology Center), Kurbesgeist by Big Dance Theater directed by Annie B. Parson and Paul Lazar (The Chocolate Factory), Stop the Virgins directed by Adam Rapp (St.Ann’s Warehouse), We’re Gonna Die by Young Jean Lee (Lincoln Center Theatre), Untitled Feminist Show by Young Jean Lee (Walker Arts Center), Brooklyn Omnibus by Stew (BAM Harvey Theatre), Persephone directed by Bob McGrath (BAM Harvey Theater), Top Secret directed by John Rubinstein (New York Theater Workshop), Stew’s Making It (St. Ann’s Warehouse), Accinosco’s The Success of Failure and international touring sound designer for Must Don’t Whip ‘Um and Accidental Nostalgia written by Cynthia Hopkins, Lizzie Borden directed by Tim Maner (Living Theater), Lightning at our Feet directed by Bob McGrath (BAM Harvey Theater), Music Director/Sound Designer The Fall and Rise of the Rising Fallen directed by Mallory Catlett (PS122), Songs of Dragons Flying to Heaven directed by Young Jean Lee (HERE); Other sound work includes 2012 Bang on a Can Marathon monitor engineer (Winter Garden), Technical Manager for the international tour of The Builders Association’s Supervision, part-time sound engineer at Dizzy’s Club Coca Cola / Jazz @ Lincoln Center, touring sound engineer with Young at Heart Chorus’ End of the Road directed by Roy Faudree, touring sound engineer for Big Dance Theater’s Supernatural Wife directed by Annie B. Parson and Paul Lazar, Head Audio and Video supervisor for the inaugural season of REDCAT at Cal Arts (Los Angeles, CA). McElhinney has an MFA in Sound Design from California Institute of the Arts (2003), is the recipient of the NEA/TCG Career Development Program for Designers (2007-2009), and in 2010 his design for Top Secret was nominated for Henry Hewes and Drama Desk awards for best non-musical sound design.
Kate Moran (performer) began studying classical dance when she was a child, then shifted her focus to contemporary theatre when she was at NYU’s Tisch School of the Arts Experimental Theatre Wing. She began working with the Paris-based company SideOne Posthume Theatre under the direction of Pascal Rambert, and the Brooklyn-based company GAleGAtes et al. under the direction of Michael Counts. Over the years she has continued working with both directors on various projects, as well as around the world with such notable artists as Thierry Deperitti, Jan Fabre, Yves-Noel Genod, Oriza Hirata, Christophe Honore, Bob McGrath, Gilles Paquet-Brenner, and others. Upcoming projects include the world tour of Robert Wilson and Philip Glass’ iconic Einstein on the Beach, the release of Peter Greenaway’s latest film Goltzius and the Pelican Company / Claude Schmidt production of Tippi Hedren (an original work based on Hitchcock’s The Birds), and Yann Gonzalez’ first feature film Les rencontres d’apres minuit.
Okwui Okpokwasili (performer) is an actress/performer who works across performance disciplines in theater and dance. She recently premiered her new solo work, Bronx Gothic in the Parallels at Danspace Project. Her 2010 piece, Pent-Up: A Revenge Dance premiered at PS 122 and received a 2010 Bessie Award.
As a frequent collaborator with choreographer Ralph Lemon, she won a 2005 Bessie for her performance in the final part of his Geography Trilogy, Come Home, Charley Patton, and performed in Lemon’s latest work How Can You Stay in the House All Day and Not Go Out, which premiered at the Brooklyn Academy of Music in the 2010 Next Wave Festival. In 2011 Okpokwasili and Lemon performed an extended duet from How Can You Stay… at the Museum of Modern Art in NYC.
She also performed in the Dean Moss/Laylah Ali collaboration Figures on a Field, which premiered at The Kitchen in 2005, and toured to MassMoca in 2006. She was an early collaborator/performer in Annie Dorsen’s Democracy in America, which premiered at PS 122 in 2007. Other NYC performance credits include Leda in Sounding, Goneril in Young Jean Lee’s Lear, Moll Cutpurse in the Foundry Theatre’s The Roaring Girle, Long Legged Ballerina in Richard Foreman’s Maria Del Bosco, Madame Laramie in Richard Maxwell’s Cowboys and Indians, Hilde in Nomad Theatrical Company’s The Master Builder under the direction of Victoria Pero, and Othello in Donna Linderman’s Oth at Dixon Place. With the Williamstown Theater Festival’s Act I Company Okpokwasili appeared as Constance Fletcher in Gertrude Stein’s The Mother of Us All. Film roles include “O” in Knut Asdam’s Filter City, the “Nigerian Tour Guide” in Sydney Pollack’s The Interpreter, “Malika” in Lasse Hallstrom’s The Hoax, and CGI work as one of the infected in Will Smith’s I Am Legend . She played the title role in Joan Dark, a co-production between the Linz 2009 Capital of Culture and Chicago’s Goodman Theater in Linz, Austria. Okpokwasili is currently working with Nora Chipaumire on her new piece Miriam, premiering at BAM’s 2012 Next Wave Festival.
Liz Sargent (performer) is an Asian American artist living and working in Brooklyn, New York. She is the director and costume/installation designer for her performance installations that are mainly made for site-specific spaces. These pieces have been produced by Danspace Project City/Dans, Lower Manhattan Cultural Council’s Sitelines, Dance Theatre Workshop, The Chocolate Factory, Piccolo Spoleto, Chez Bushwick, Abrons Art Center and Mount Tremper Arts. With funding by Wachovia Bank, Lower Manhattan Cultural Council, and the Danspace Commissioning Initiative among others. Liz is a graduate of The University of North Carolina School of the Arts in Contemporary Dance. While she has focused particularly on her performance installations she has also been active in education as a Movement Specialist at The Lenox Hill Neighborhood House and as an arts administrator with Dance Theater Workshop, J Mandle Performance, Noemie Lafrance, Catherine Bay (The Snow White Project), Mount Tremper Arts, and event coordinator for The New York Dance and Performance Awards. As a performer and designer she has worked with various artists and companies in NYC including Jim Findlay (Botanica), Jonah Boaker/Chez Bushwick, Aynsley Vandenbroucke Movement Group, Adrienne Westwood, Third Rail Dance/Zach Morris, Stephanie Sleeper/Studio A.I.R.
Kaneza Schaal (performer) performs with The Wooster Group in Vieux Carré (Baryshnikov Arts Center) and Early Plays (St. Ann’s Warehouse) the company’s collaboration with New York City Players directed by Richard Maxwell. She originated roles with Elevator Repair Service in The Sound and The Fury (New York Theater Workshop), The Select (NYTW), and a new piece written for the company by Sibyl Kempson. Schaal appeared in Jay Schieb’s Powder Her Face (BAM), Bellona: Destroyer of Cities (The Kitchen), and in Claude Wampler’s N’a pas un gramme de charisme (The Kitchen). Additionally she has read stories for Symphony Space and NPR’s Selected Shorts. Her film credits include Kathryn Bigelow’s Zero Dark Thirty and Chelsea Knight’s The End of All Resistance. Currently, she is developing a new work Please, Bury Me based on the Egyptian Book of the Dead that will premiere this fall. Schaal received a Princess Grace George C. Wolfe Award and earned her BA from Wesleyan University, Conn.
Rebecca Warner (performer) grew up in Brookline, Massachusetts and graduated with a BA in Neuroscience from Columbia. She has performed with/currently performs with RoseAnne Spradlin, Jillian Peña, Aynsley Vandenbroucke, Beth Gill, Stacy Grossfield, Jim Findlay, Deganit Shemy, Karen Harvey, Megan Byrne, Sarah Michelson, Neta Pulvermacher, Muna Tseng, Diana Crum, Laura Vitale and Buck Wanner. She has assisted playwright/director Andrew Ondrejcak as movement/rehearsal director. Her work has been shown at the 2011 Meredith Monk Benefit, La MaMa, CATCH, Dixon Place and Movement Research at the Judson Church.