The Story of the Orca’s Silver Tongue as Told by the Manager of the Only Taco Bell in Juno follows the epic tale of a whale god named Murder, the Manager of the only Taco Bell in Juno, and Frankie Bottomless, the former BFF who stole their gorgeous sparkling tongue and ran away to San Francisco. This narrative of shifting selves manifests as a transdisciplinary performance with a projected video essay, puppetry, and live choral soundscape. The cast assumes new bodies with each encounter, assembling a queer utopian world that envisions new modes for friendship, lust, and solitude.
Poem by Nina Budabin McQuown, adapted for stage by Anna Lublina, Lim Mui, Lilly Kaplan, and Nina Budabin McQuown
Music Composed by: Lilly Kaplan
January 23-24, 2018: The Tank (NYC) as a part of the Exponential Festival
July 25, 2017: Dixon Place (NYC) as a part of the Hot! Festival
June 15-22, 2017: Vital Joint (NYC) as a part of the Interrobang:New Works Festival
Previous Collaborators: Nina Budabin McQuown, Lilliana Kaplan, Ruthie Natanzon
Photo Credit: Effy Grey and Scott Shaw
Taking its title from MTV’s hit reality TV show, ARE YOU THE ONE? The ultimate queer dating game: each contestant must use their unique musical language to attract their “perfect match.” As four sexy singles strive for harmony—literally—tempers flare and clothes come off. With tears and wistful love songs, will they find “the one”?
Like the best (worst) reality shows, the piece ends with a twist: the contestants discover they can’t find their “perfect match” because “Perfect harmony is only truly achieved through the collective body, when the voice of each individual reflects the product of their labor and supports the collective community.” The lights fade over the dictatorial host’s pseudo-communist arm gestures as s/he gives a diatribe about the unification of (wo)man and machine.
As such, the piece is simultaneously a campy reality dating show and an absurd illustration of socialist political regimes and their spiral into fascism. As I indulge my earnest inclinations toward communism, I nod toward the legends of Soviet terror that line my family history. By placing stereotypes of queer women in a socialist framework (both of which undermine the hetero capitalist patriarchy promulgated in reality TV dating shows), I attempt to link queer collectivity with alternative political ideology. Just as queerness offers the opportunity for expanded notions of family outside a normative structure, so too can it offer a model for alternative modes of governance. ‘ARE YOU THE ONE?’ pushes back upon the exceptionality complex built into American political structures, declaring: there’s never just one.
Made in collaboration with:
September 29-30, 2017: The Brick Theater (NYC)
The epic story of a Provincetown queen who turns into a bird, with malignant priests, zombie dolphins, and a tap-dancing polar bear.
Written by Nina Budabin McQuown.
Collaborators: Nina Budabin McQuown, Rebecca Murie Wenstrom, Maddy Popkin, Naomi Moon, Helen Spencer-Wallace, Kit McKeown, Aviva Jobin-Leeds, Elena Rekola, Lukas Tandara, Anne Nayer
Performance History: Bread and Puppet (July 2016)
Mountainy Women is a staging of Sylvia Plath’s 1962 radio play “Three Women.” Written in verse, the play illustrates the anxiety and excitement of three women before, while, and after they give birth. Inspired by documentary-theatre, my experience with the Errantes project at The Center of Peace, Memory, and Reconciliation in Bogota, Colombia, and the Ping+Chong theater company (with whom this was partially developed), the play incorporates interviews I conducted with women in my community about their experiences and attitude towards pregnancy. Using the original 1962 radio broadcast and the recorded interviews, the play is a collage of public sound (external, from the stage) and private sound (ear buds connecting to personal devices).
Collaborators: Jo Stewart, Cora Walters, Marcela Biven
Special help from: Shantel Prado, Elena Rose Light, and Lori Rodriguez
Performance History: La Mama Galleria (December 2015)
Photos by Lori Rodriguez
Stop-Action Puppet Animation about the history of Colombian music, Colonialism, and the guerrilla Peace talks.
Puppets by Anna Lublina
Poetry by Felipe Sandoval Correa
Edited by Daniel Alberto Sanchez
A collective play-installation with 25 actor-designers based on Heiner Muller’s MedeaMaterial.
Collaborators: Jimmy Curry, Eve Felsenthal, Rosa Kalish, Marisa Katz, Isabel Lyndon, Meghan Comer, Megan Finley, Kate Johnson, Ray Zuniga, Andrew Wilhite, Megan Finley, Vita Haas, Dylan Holmes, Ana Montgomery, Daniel Spielberger, Chloe Truong-Jones, Lucy Weisner, Thanh Chu, Mimi Howard, Clarissa Kerner, Sasha Myshalov, Nikole Shahbazian, Blake Stewart
A multimedia performance of Euripides’ Bacchae, Max Smith-Holmes and Anna Lublina directed a silly satire centered around exorbitant sexuality, Google search engines, cupcakes, whipped cream, live DJs, and the startling “art-ness” of a blank white cube (i.e. a squash court.) “Based on Euripides’ Bacchae, this no-holds-barred wet-n-wild Grecian tragedy follows the slips and slides of Olympia’s bad-boy, Dionysus. Popping into Thebes to avenge his disgraced momma, Dionysus bewitches the towns’ ladies and sends them in high spirits, fun romping through diegetic space in the collective cheer. Dionysus leaves the king (his cousin!), blushed and abashed from his Baccanalian magic jets. The sad truth that Dionysus ultimately convinces the clueless monarch to abandon his manhood.. and finally his life.”
Collaborators: Max Smith-Holmes, Corinne Bachaud, David Tylinski, Jeannie Yoon, Stella Baker, Belle Kingston, Nina Clark, Vita Haas, Mimi Howard, Lily Capozzalo, Della Green, Katie Rosenthal, Lucy Weisner, Will Cronin, Daniel Spielberger, Kate Weinreich, Marisa Barone, Daniel Ku
Performance History: RAW (March 2013)