Manual Cinema
Frankenstein
Sunday, October 20, 2024
---
Program Note from Lead Deviser and Co-Artistic Director Drew Dir
Mary Shelley’s 1818 novel Frankenstein—which, among its myriad other contributions to popular culture, single-handedly founded the modern genre of science fiction—casts a long shadow over the medium of cinema. The story of Victor Frankenstein and the unnamed Creature he brings to life has itself been perennially re-animated for movie audiences; from the first 1910 silent film adaptation produced by Thomas Edison’s studio, to Boris Karloff’s iconic visage in the 1933 Universal Studios monster, to more recent Hollywood reboots, riffs, and parodies. With each new era, Frankenstein manages to connect with our sympathy and revulsion at Frankenstein’s monster, our ambivalence about the progress of science and technology, and our anxieties about the mysterious threshold between life and death.
This fall, Purchase PAC presents Frankenstein, an adaptation by Manual Cinema, a theater company that seeks to create cinema on stage through an ingenious choreography of live music, object theater, and shadow puppetry using old-school overhead projectors. The work of Manual Cinema shares a special affinity with Mary Shelley’s story about the reanimation of obsolete materials, and their adaptation aims to capture the breadth of Frankenstein’s legacy in film: the novel’s cinematic afterlife, so to speak. These artists are doing so by taking a cue from Mary Shelley herself, who gave her novel a gothic structure—the story is told in a series of narrative frames, like Russian nesting dolls, with each frame narrated by a different character (the centermost frame being an account by the Creature itself). In Manual Cinema’s adaptation, each “frame” of the story will be told through a different cinematic genre or style, depending on which character’s point-of-view is being presented. Like the Creature itself, the production becomes a pastiche of different visual idioms scavenged from a century of cinema.
Manual Cinema has also written an additional frame for the novel: the story of Mary Shelley herself, and how she came to write a novel of such enduring relevance. Frankenstein was originally conceived by Mary as a ghost story—a response to a friendly competition with the poets Percy Shelley and Lord Byron during an unusually stormy summer on Lake Geneva. Manual Cinema’s adaptation aims to re-animate their own Frankenstein against the backdrop of Mary Shelley’s fascinating, tragic, and little-told biography.
PRODUCTION CREDITS
A Manual Cinema Production
Adapted from the novel by Mary Shelley
Concept and Direction by Drew Dir
Devised by Drew Dir, Sarah Fornace, and Julia Miller
Original Music by Ben Kauffman and Kyle Vegter
Storyboards by Drew Dir
Music and Sound Design by Ben Kauffman and Kyle Vegter
Shadow Puppet Design by Drew Dir with Lizi Breit
Projections and Scenic Design by Rasean Davonte Johnson
Costume and Wig Design by Mieka van der Ploeg
Lighting Design by Claire Chrzan
3D Creature Puppet Design by Lizi Breit
Prop Design by Lara Musard
Audio Engineer: Mike Usrey
Technical Director, Stage Manager, Video Mixing and Live Sound Effects: Kyle Vegter
Lighting Director: Hannah Wien
CAST
Puppeteers:
Maren Celest (Lord Byron)
Kara Davidson (The Creature, Elizabeth Frankenstein)
Sarah Fornace (Victor Frankenstein, Mary Shelley)
Jyreika Guest (Percy Shelley, Vocals)
Myra Su (Puppeteer)
Musicians:
Peter Ferry (percussion)
Jason Gresl (clarinets and aux percussion)
Lia Kohl (cello, aux percussion, vocals)
Robin Meiksins (flutes, aux percussion, piano)
For all North, Central, and South American booking inquiries please contact:
Laura Colby, Director, Elsie Management
laurac@elsieman.org
TEL: +1 718 797 4577
www.elsieman.org
---
This engagement of Manual Cinema is made possible in part through the ArtsCONNECT program of Mid Atlantic Arts with support from the National Endowment for the Arts.
Manual Cinema is an Emmy Award-winning performance collective, design studio, and film/video production company founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller, and Kyle Vegter. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen.
Using vintage overhead projectors, multiple screens, puppets, actors, live-feed cameras, multi-channel sound design, and a live music ensemble, Manual Cinema transforms the experience of attending the cinema and imbues it with liveness, ingenuity, and theatricality. The company was awarded an Emmy in 2017 for “The Forger,” a video created for The New York Times and named Chicago Artists of the Year in 2018 by the Chicago Tribune. Their shadow puppet animations are featured in the film remake of Candyman, directed by Nia DaCosta and produced by Jordan Peele’s Monkeypaw Productions. Recent productions include Leonardo! A Wonderful Show about a Terrible Monster, based on books by Mo Willems, and an adaptation of Charles Dickens’ A Christmas Carol.
In 2023, Manual Cinema completed production on their first self-produced short film, Future Feeling, and will be touring with folk rock band Iron & Wine in 2024.
MAREN CELEST (Lord Byron) is a multi-disciplinary storyteller based in Chicago. Their video work has premiered on NPR music, their photography and experimental portraiture has been featured in publications worldwide, and their large format analogue work can be seen on albums for Ohmme, Ben LaMar Gay and Twin Talk. Maren published a book in tandem with an album and 7” record called “I Saw the Sun” (Pub. Candor Arts) which was accepted into a permanent collection at Yale University - the work compiles personal experience over 5+ years documented on 35mm, writing & lyrics from life on the road with Manual Cinema through 8 different countries. www.marencelest.com
KARA DAVIDSON (The Creature, Elizabeth Frankenstein) is a playwright, director, performer, puppeteer, and teaching artist, and is the current Director of New Works at The Paramount Theatre in Aurora, IL. Previously, she was the Producer of the NOW Lab with the Omaha Playhouse in Nebraska and the co-director of The Lab Chicago, an incubator for new works in a variety of genres. She holds an MFA in Writing for Stage and Screen from the University of Nebraska at Omaha, and a BA in Theatre Performance from the University of Nebraska, Lincoln. She has been performing with Manual Cinema since 2015, and previous touring shows with the company include Ada/Ava, Lula del Ray, The Electric Stage, Pop Up Magazine, and End of TV and she was an additional puppeteer for the 2021 feature film Candyman. Kara volunteers as a teaching facilitator with the Chicago-based A.B.L.E. Ensemble, which creates theatre and film projects for, with, and by individuals with Down syndrome and other intellectual and developmental disabilities. As a performer she has worked with Lookingglass Theatre, Chicago Shakespeare Theatre, The House Theatre of Chicago, The Actors Theatre of Louisville, and Nebraska Repertory Theatre, among others. Her video game credits as a motion capture performer include Injustice 2, Mortal Kombat 11, Mortal Kombat 1, Call of Duty and Black Ops: Cold War.
SARAH FORNACE (Mary Shelley, Victor Frankenstein, MC Co-Artistic Director) is a director, puppeteer, choreographer, and narrative designer based in Chicago. She is a co-Artistic Director of Manual Cinema. Outside of Manual Cinema, Sarah has worked as a performer or choreographer with Redmoon Theatre, Lookingglass Theatre Company, Court Theatre, Steppenwolf Garage, and Blair Thomas and Co. Most recently, Sarah wrote the story mode for the video game Rivals of Aether. In 2017, she directed and edited the first episode of the web series, The Doula is IN. In 2016, she directed and devised an "animotion" production of Shakespeare's Hamlet with Rokoko Studios for HamletScen at Kromborg Castle in Elsinore, Denmark.
JYREIKA GUEST (Percy Shelley, Vocals) is an actor, dancer, poet, and intimacy director/coordinator based in Chicago, IL, and thrilled to return to No Blue Memories! Chicago acting credits include: How Blood Go (Congo Square Theatre); Tragedy of King Christophe (House Theatre of Chicago); Lindiwe U/S (Steppenwolf); Frankenstein (Remy Bumppo); columbinus (The Yard Theatre Company); In the Blood (Red Tape Theatre); Fly Honeys Show (The Inconvenience Project); The Wiz (Kokandy Productions); The Adventures of Robin Hood (Filament Theatre). Intimacy direction credits: Ain't No Mo' (Woolly Mammoth, DC); ALAIYO (Definition Theatre); Fun Home, Groundhog Day, Rock of Ages, and Hand to God (Paramount Theatre-Aurora), The Last Pair of Earlies (Raven Theatre); Seagull (Steppenwolf), Intimate Apparel (Northlight Theatre); The Light (Coalescence Theatre); Fire Shut Up in My Bones (Lyric Opera Chicago); Film/TV credits: Starz Force Season 1&2, Heist 88. She is proudly represented by Shirley Hamilton Talent. IG: @jevelyng
MYRA SU (Puppeteer) is a multimedia artist and puppeteer based in Chicago. She primarily works in 2D forms, often combining paper puppets with crankie, shadow and video. Her most recent project was a 20 minute puppet film for Oregon Shakespeare Festival's THE CYMBELINE PROJECT, which divides the play into separate episodes led by different artists. Previously, she has been a featured artist at the Chicago International Puppet Theater Festival, Baltimore Crankie Festival, the National Puppet Slam, and with Handmade Puppet Dreams. In addition to her independent work, she is a co-curator for NASTY, BRUTISH & SHORT: A PUPPET CABARET and a touring puppeteer and builder with Manual Cinema. For her full portfolio visit myrasu.com.
PETER FERRY (Percussion) called “the ingenious percussionist Peter Ferry,” (Chicago Sun-Times) and “an artist of vision” (Democrat and Chronicle), is a young American percussion soloist and artistic collaborator. Following his concerto debut at age 18, Ferry has championed the works of living composers, including Michael Daugherty who has praised Ferry as “one of the most promising and committed soloists of his generation.” A TEDx speaker, Ferry has collaborated with choreographer Nick Pupillo at Chicago’s Harris Theater and abroad at the European Museum of Modern Glass where he was nominated for the Coburg Prize. An alumnus of the Eastman School of Music, Ferry graduated with the first ever John Beck Percussion Scholarship, an Arts Leadership Program certificate, and the prestigious Performer’s Certificate recognizing outstanding performing ability.
JASON GRESL (Clarinets, aux percussion) From playing bass clarinet while upside-down in front of the St. Paul Chamber Orchestra to an impromptu performance of Mozart’s clarinet quintet just after almost drowning in the Panama Canal, woodwind specialist Jason Gresl spends his days diving from one artistic adventure into another. Recently, Jason has been dividing his time in two directions. On one side, he explores music with his multidisciplinary concert series, The Muses’ Workshop, his duo, Claricello, and through new music commissions. On the other, he plays for musicals (most recently: Wicked, Phantom of the Opera, Book of Mormon, and In The Heights). Jason teaches at Andrews University, Saint Mary's College and Indiana University - South Bend. In his spare time, Jason attempts to learn feats of wonder with playing cards and enjoys cooking Thai and Indian cuisines.
LIA KOHL (Cello, aux percussion, vocals) is a cellist, composer, and multidisciplinary artist based in Chicago. She creates and performs music and multimedia performance that incorporates sound, video, movement, theater, and sculptural objects. She has presented work and performed at the Art Institute of Chicago, the Museum of Contemporary Art Chicago, the Walker Art Center, Chicago Symphony Center, and Eckhart Park Pool, and held residencies at Mana Contemporary Chicago, High Concept Labs, dfbrl8r Performance Art Gallery, Mills College and Stanford University.
ROBIN MEIKSINS (Flute) is a freelance contemporary flutist focused on collaboration with living composers. Chicago-based, she uses the Internet and online media to support and create collaboration. In 2017, Robin completed her first year-long collaborative project, 365 Days of Flute. Each day featured a different work; each video was recorded and posted the same day. In 2018, Robin launched the 52 Weeks of Flute Project. Each week features different living composer to workshop a submitted work, culminating in a performance on YouTube. Robin has premiered over 100 works and has performed at SPLICE Institute, the SEAMUS national conference, and Oh My Ears New Music Festival 2018, she was a guest artist at University of Illinois for their first annual ’24-Hour Compose-a-thon.’ Robin holds a masters degree from Indiana University’s Jacobs School of Music where she studied with Kate Lukas and Thomas Robertello.
LIZI BREIT (Puppet Designer) is an interdisciplinary artist based in Chicago. She has worked with Manual Cinema as a performer, designer, animator and director since 2011.
CLAIRE CHRZAN (Lighting Designer) is excited to collaborate with Manual Cinema again after previously designing No Blue Memories: The Life of Gwendolyn Brooks, and The End of TV. Other credits include; Evening at the Talk House, The Mutilated and The Room (A Red Orchid); The? Unicorn? Hour?, Saturn Returns, (The Neo-Futurists); The Distance, We're Gonna Die (Haven Theatre); Caught (Sideshow Theatre Company); After Miss Julie, The Night Season (Strawdog Theatre Company); Peerless (First Floor Theater); Pinocchio (Neverbird at Chicago Children's Theatre); Love and Human Remains, Good Person of Szechwan (Cor Theatre); The Terrible (The New Colony); The Guardians, Uncle Bob (Mary-Arrchie); The Hero's Journey, Best Beloved: The Just So Stories, The Pied Piper (Forks and Hope Ensemble). Claire also works as a production stage manager for various companies including Hubbard Street's HS2, The Joffrey Ballet's Joffrey Academy and Alonzo King LINES ballet. Clairechrzandesigns.com
DREW DIR (Director, Puppet Designer, MC Co-Artistic Director) is a writer, director, and puppet designer. Previously, he served as the Resident Dramaturg of Court Theatre and a lecturer in theater and performance studies at the University of Chicago. He holds a master’s degree in Text and Performance Studies from King’s College London and the Royal Academy of Dramatic Art.
HANNAH WIEN (Lighting Director) is a Jeff-nominated lighting designer and graduate of Columbia College Chicago, where she earned her Theatre degree with a minor in Entrepreneurship. Originally from Indianapolis, she began her theatre journey at age 10 as an actor, but her passion for lighting design was sparked in college. Since then, Hannah has worked on productions such as Rock of Ages (Mountain Theatre Company), Almost, Maine (Oil Lamp Theatre), GRIMM (Theatre Above the Law), Medea Material (Trapdoor Theatre), and Failure: A Love Story (Oil Lamp Theatre).
RASEAN DAVONTE JOHNSON (Projections & Scenic Design) is delighted to be working with Manual Cinema to which previous projects include Lula Del Ray and Fjords. A Chicago-based video artist and theatrical designer, he has had the opportunity to work with institutions such as Steppenwolf Theatre, The Hypocrites, Yale Repertory Theatre, Long Wharf Theatre, McCarter Theatre Center, Geva Theatre Center, Berkshire Theatre Group, Alliance Theatre, the Ningbo Song and Dance Company, and B-Floor Theatre. MFA Yale School of Drama. raseandavontejohnson.com.
BEN KAUFFMAN (Composer, Sound Designer, MC Co-Artistic Director) is a composer, director, interactive media artist and co-Artistic Director of Manual Cinema. His film and interactive work has been shown at The Jay Pritzker Pavilion (Chicago), The Peggy Notebaert Nature Museum (Chicago), and CUNY’s Baruch College (NYC). He has lectured and given workshops at The Metropolitan Museum of Art, New York University and Parsons the New School of Design. His past Composer/ Sound Designer credits with Manual Cinema include Ada/ Ava, The End of TV, and the New York Times documentary The Forger. He holds a Master’s degree from New York University’s Interactive Telecommunications Program (ITP).
JULIA MILLER (Co-deviser, MC Co-Artistic Director) is a director, puppeteer, and puppet designer. With Manual Cinema she has directed Mementos Mori and The End of TV as well as created original roles in Frankenstein (The Creature/Elizabeth), Ada/Ava (Ada), Lula del Ray (Lula's Mother), The Magic City (Helen), Hansel und Gretel (Hansel), and Leonardo! (Sam). In Chicago, she has worked as a performer and puppeteer with Redmoon Theatre and Blair Thomas and Co. She spent several years training in devised theatre, clown and mask with Double Edge Theatre, Carlos García Estevez and at the Accademia dell'Arte in Arezzo, Italy.
LARA MUSARD (Prop Designer) Ms. Musard serves as the Prop Manager at Court Theatre in Chicago where Manual Cinema’s Frankenstein first premiered in October of 2018. For this project, she worked with Mr. Dir to design and create the majority of the two and three dimensional pieces seen in the Victor Frankenstein portion of the storytelling. Having propped nearly 60 shows at Court Theatre over a twelve year period, Manual Cinema’s Frankenstein was by far the most unique. She is grateful for the experience of working in this medium and proud to have been part of the team.
MIKE USREY (Audio Engineer) “That may be the most important thing to understand about humans. It is the unknown that defines our existence. We are constantly searching, not just for answers to our questions, but for new questions. We are explorers. We explore our lives day by day, and we explore the galaxy trying to expand the boundaries of our knowledge. And that is why I am here: not to conquer you with weapons or ideas, but to coexist and learn.” – Benjamin Lafayette Sisko
MIEKA VAN DER PLOEG (Costume and Wig Design) has designed costumes for many Chicago theaters, including Lookingglass Theatre, Chicago Shakespeare Theatre, The Hypocrites, About Face, Chicago Children's Theatre, About Face Theatre, The House Theatre, Next Theatre, Griffin Theatre, The Building Stage, Albany Park Theater Project, Dog and Pony Theatre, and Manual Cinema. She is proud to be an Artistic Associate at About Face Theatre. She has received two Jeff Award nominations for Golden Boy (Griffin Theater) and Mr. Burns (co-designed with Mara Blumenfeld, Theater Wit).
KYLE VEGTER (Composer, Sound Designer, Technical Director, MC Co-Artistic Director) is a composer, producer, sound designer, and Managing Artistic Director of Manual Cinema. As a composer of concert music he’s been commissioned by such groups as The Chicago Symphony Orchestra’s MusicNOW series, The Pacific Northwest Ballet, and TIGUE. His music and sound design for theater and film has been performed worldwide and commissioned by the New York Times, NPR’s Invisibilia, Topic (First Look Media), the Museum of Contemporary Art Chicago, StoryCorps, The Art Institute of Chicago, The Poetry Foundation, Hubbard Street Dance, the O, Miami Poetry Festival, and others. His past Composer/ Sound Designer credits with Manual Cinema include Lula Del Ray, Ada/ Ava, FJORDS, Mementos Mori, The End of TV and various other performance and video projects. He has been an artist in residence at High Concept Laboratories, and co-founded Chicago’s only contemporary classical music cassette label Parlour Tapes+.