My Favorite NYU Skirball Memory

Many of you may not remember this particular detail about that night, because many of you were concentrating on the men dangling upside down from tightropes on the ceiling or the strobe lights and giant metal wheels. But during the performance of Bromance, one of the boys in the Barely Methodical Troupe was required to enter from through the audience from a House aisle. I had gotten myself locked out of the theatre during this Act change, and found myself in the same aisle as him; in the theatre lobby. It was deadly quiet. I looked down at my coffee—the reason why I was late to the next act—and tried to pretend that I didn’t know this guy was an award-winning former Olympic performer and laureate British celebrity. His YouTube videos had over five million collective views. He’d studied high-risk choreography around the world. He’d won Britain’s Got Talent.

“Hi,” he said. He managed to make juggling four bowling pins at the same time look super causal.

“Hi,” I said.

“What’s up? How you doing?”

“Aren’t you about to perform right now?”

“Yeah, I am. Are you enjoying the show so far?”

“Yes. Thank you.”

“Oh yeah? What was your favorite part?”

The music began and from the crack underneath the lobby door we could see lights flashing.

“So what’s your favorite part?” he said.

I said, “Aren’t you afraid you’ll miss your cue?”

“Nah, it’s cool, so you go here?”

Our conversation continued like this for a while. Eventually he goes, “Oh, I think that’s me. The laughter is my cue,” and enters through the left aisle door. I snuck in behind him. From my seat I watched him endanger his life countless times on stage for an effect that was undeniably…breathtaking. I just couldn’t believe how just a few moments ago he’d casually conducted conversation with a stranger as if he wasn’t about to jump off another man’s shoulders from six feet in the air in ten minutes.

But I guess that’s the wonder of seeing entertainment in a theatre that doesn’t quite set up barriers between audience and performer. The small talk. The talk before or after their big leap on stage that changes everything about the way we are involved in the performance.

NYU Skirball often facilitates a theatre experience where performers directly interact with their audiences; whether through workshops or dialogues.

Performance artists here are often eager to be part of a workplace that encourages them to expand on the message delivered in their art.

But mostly, I can’t believe I got to meet Barely Methodical Troupe!

-Nicole D’Alessio, CAS ’17



In Walter Asmus’ critically-acclaimed staging of three one-woman plays by Samuel Beckett, Irish actor Lisa Dwan masterfully triangulates the existential void. In Not I, a woman—reduced to a mere mouth, suspended in total darkness—seeks solace in a blisteringly paced stream of her own broken speech. In Footfalls, a tattered soul, drained of life, paces relentlessly outside her dying mother’s bedroom. And in Rockaby, a woman slowly withdraws from the world, rocked to eternal sleep in her mother’s chair. This production drew ecstatic reviews at BAM in 2014, Royal Court Theatre and in the West End.

Samuel Beckett’s “Not I” – Lisa Dwan Mouths Off

BBC Interview with Lisa Dwan


Article: Lisa Dwan & Walter Asmus by Michael Coffey
”I am not a human being up there, true, and I am not a woman. I’m consciousness.”

Article: Actress Lisa Dwan Retires a Bruising Beckett Role (Wall Street Journal)

Article: Lisa Dwan Presents he Internationally Acclaimed Becket Trilogy: Not I / Footfalls / Rockaby (
“Dwan had been performing Not I since 2005, directed by Natalie Abrahami. The Times of London said Dwan ‘turned what is commonly regarded as the hardest role an actor can tackle into a tour de force.'”

Review: Time is of the Essence in a Mesmerizing Beckett Trilogy (Boston Globe)
“‘Not I,’ ‘Footfalls,’ and ‘Rockaby’ clock in at just an hour, but after you leave the theater you may find yourself aching to repeat one or another, to catch something you are sure you missed the first time around, to keep up with the pace. And isn’t that exactly Beckett’s point about the way we approach our lives?”

Article: New Press Releases: Beckett Trilogy (

April 13-16, 8:00PM
April 16, 2:00PM
April 17, 3:00PM

Click HERE to purchase your tickets.


FUN FACT: the former NYU President, and Founder and Executive Producer of the NYU Skirball Center also proposed the construction of the Glucksman Ireland House at NYU. His name was Dr. L. Jay Oliva, and he was the son of an Italian father and Irish-speaking mother from County Galway, Ireland.

NYU Skirball’s Irish roots are strong. And we are proud of it.

This is perhaps why the much-anticipated Beckett Trilogy has brought together international communities from across NYU who seem to be veritably fascinated with not only Beckett’s surrealist plays, but with Irish culture in general.

The Beckett Trilogy is just what it sounds like: a series of three short plays written by Samuel Beckett called Not I, Footfalls, and Rockaby. And if Beckett is writing them, you know the plays are going to be emotionally jarring, minimalist and groundbreaking—all at the same time. (In Beckett’s words, Not I consists solely of “a moving mouth with the rest of the stage in darkness.” Jarring. Minimalist. Groundbreaking.) They all happen to be one-woman plays.

Who knew Beckett was such a feminist?

As it turns out, he had a 25-year long relationship (talk about long-term!) with actress Billie Whitelaw, for whom he wrote these spectacular one-woman pieces. The roles were often physically and mentally demanding on Whitelaw: “Sam knew I would turn myself inside out to give him what he wanted,” Whitelaw explains in a New York Times article dated April 1996.

After ten years of interpreting these pieces around the world, Walter Asmus’ critically acclaimed rendition starring Lisa Dwan, who is currently in-residence at the NYU School for Ballet and the Arts, comes to NYU Skirball.

In a similar tradition to Whitelaw’s collaboration with Beckett, according to The Wall Street Journal, Dwan has “pulled muscles in her calf, developed migraines and after performances, has temporarily lost vision in one of her eyes and lost feeling in her face. After each run, she is covered with cuts, scabs and bruises. The harness cuts her ears, leaving her bleeding after many shows.” Performing Beckett, she says, injuries aside, has been a “tremendous privilege and gift.”

These three pieces, considered some of the last great modernist works and key productions in what scholars call the “Theatre of the Absurd”, is celebrated this April on Beckett’s birthday with a post-show conversation featuring Lisa Dwan and Sir Salman Rushdie, laureate critic of magical surrealism and cultural revivalism, hailing from British India. These performances mark the conclusion of Skirball’s Visions + Voices Global Performance Series.

The Irish Cultural Society at NYU, a new group of Irish culture students who are partnering with NYU Skirball to involve a focused audience of NYU students, will be joining us to share their club’s mission and participate in the festivities. So if it’s cultural exchange you want, you got it…with a side of theatre!

The Beckett Trilogy will be on stage at NYU Skirball Center for a little under a week, between April 13th and 17th, and student tickets are, as always, $15 with the code on this website.

by Nicole D’Alessio
NYU Class of ’17


Igudesman and Joo

If Trey Parker and Matt Stone played the violin and piano, if Penn and Teller performed music instead of magic, and if Seth Macfarlane had a twin, they would be the brilliantly outrageous Igudesman & Joo. Violinist Aleksey Igudesman and pianist Hyung-Ki Joo are the inventive comic duo whose hilarious mix of music, pop culture and pure zaniness has won them fans of all ages and cultures worldwide. As evidence, their YouTube sketches have attracted close to 40 million viewers.

The New York Times said of their artistry, “Their blend of classical music and comedy, laced with pop culture references and a wholly novel take on the word slapstick, is fueled by genuine, dazzling virtuosity.”

Igudesman & Joo’s website

Igudesman & Joo: ‘I Will Survive’ on NPR

Preview Clips

And Now Mozart’s YouTube Channel (over 40 million views!)

Article/Photo Gallery: First Look at Skirball Center’s Upcoming AND NOW MOZART (

Article: And Now Mozart (TheaterMania)

Article: Latest Press Releases: And Now Mozart (

And Now Mozart at NYU Skirball March 25th and 26th



In sixty minutes of beautifully orchestrated circus-theatre chaos, seven young acrobat-adventurers defy a tsunami of unstable forces with optimism, dark humor and breathtaking physical skills. L’Immédiat is a tumultuous visual commentary on the uncertainty and mayhem of modern times. Created by the award-winning Camille Boitel, a founding figure from James Thierrée’s Junebug Symphony Company, L’Immédiat was awarded the Prix Mimos in 2010.

L’immediat’s trailer
L’immediat’s Stage Set Up

Interview: Interview with Performance Artist Camille Boitel (French Embassy)
Article: Above and Beyond – L’immediat (The New Yorker)
Article: Camille Boitel’s Circus Spectacle L’IMMEDIAT Comes to Skirball Center Next Week (Broadway World)
Review: L’immediat – Entropy, Collapse, Chaos (Woman Around Town)
Review: Camille Boitel’s “L’immediat” (StageBuddy)
Review: Camille Boitel – L’immediat – New York (DanceTabs)

Post-Show Discussion and Q&A, March 10
Join us directly after performance for a post-show discussion and Q&A with the cast of L’immediat, moderated by Nancy Smithner, Clinical Associate Professor of Educational Theatre, NYU Steinhardt.

Panel on Physical Theatre in the Arts, March 11, 11am-12:30pm
Location: Center for Ballet and the Arts – 16 Cooper Square, NYC
Join us for a discussion about the utilization of physical theatre in various art forms, including circus, acrobatics, puppet making, performance studies, and more. Panelists include: Matt Acheson (AchesonWalsh Studios), Camille Boitel (creator of L’immediat), and Gypsy Snider (The Seven Fingers).

Post-Show Discussion and Q&A, March 11
Join us directly after performance for a post-show discussion and Q&A with the cast of L’immediat, moderated by Nancy Smithner, Clinical Associate Professor of Educational Theatre, NYU Steinhardt.

BEYOND THE STAGE with Twelfth Night


Filter Theatre in association with the Royal Shakespeare Company A radically-cut, fast-paced, and extremely accessible version of Shakespeare’s much-loved comedy where classical verse meets riotous gig. Performed by six actors and two musicians in everyday clothes, the experience is more akin to a rock concert than classical theater, creating an exhilarating live chemistry between actor and audience. Directed by Sean Holmes.

Artist’s Website

Filter Theatre’s Twelfth Night Trailer
Filter Theatre’s Video Clip

Podcast: Music in Shakespeare: Shakespeare Unlimited: Episode 11 (Folger Shakespeare Library)
“Rebecca Sheir, host of our Shakespeare Unlimited series, interviews Ross W. Duffin, professor at Case Western University, about musical hints in Shakespeare that have been flying over the heads of most audiences and readers for 400 years.”—Richard Paul

Interview: Interpreting Malvolio in new fast-paced ‘Twelfth Night’
“Filter Theatre’s new production of Twelfth Night, one of the more famous plays by William Shakespeare, promises to be fast-paced and irreverent, bringing together various styles to tell the story of Viola, Malvolio, Duke Orsino and Sebastian, among others.” —John Soltes, January 29. 2015

Article: NYU Skirball to Welcome Filter Theatre’s TWELFTH NIGHT Tonight (BroadwayWorld)
“NYU Skirball Center for the Performing Arts is proud to present TWELFTH NIGHT, created by Filter Theatre in association with the Royal Shakespeare Company.”—February 16, 2016

Article: Filter Theatre launches 
version of ‘Twelfth Night’ (Boston Herald)
“Shakespeare’s “Twelfth Night” has often been described as whimsical — madcap even. But anarchic?” —Jed Gottlieb, January 18, 2016

Article: Music in the Elizabethan Theatre by W.J.Lawrence, The Musical Quarterly Vol. 6, No. 2 Apr 1029 pp. 192-205 Oxford university Press.

NYU Skirball’s Twelfth Night Playgoer Guide

Post-Show Discussion and Q&A, February 17
Join us directly after performance for a post-show discussion and Q&A with the cast of Twelfth Night, moderated by Daniel Spector, Teacher of Drama , NYU Tisch School of the Arts.

Pre-Show Lobby Talk, February 18 at 6:30pm

Join us before the show for a lobby talk given by Filter producer and playwright Simon Reade.

Post-Show Discussion and Q&A, February 19
Join us directly after performance for a post-show discussion and Q&A with the cast of Twelfth Night, moderated by Todd Barnes, Associate Professor of Literature, Ramapo College of New Jersey



BEYOND THE STAGE with Circus Now

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Think you know circus? Think again.

This January, for three spectacular nights, New York audiences are invited to re-imagine their perceptions of a timeless art, as the world’s most innovative and inspired companies take the stage for Circus Now: International Contemporary Circus Exposure 2016.

Join us in this celebration of contemporary circus—don’t miss the opportunity to experience this one-of-a-kind event.


Acrobatic Conundrum (US) — The Language of Chance
Oktobre (France) — Oktobre

Andréane Leclerc/Nadère arts vivants (Canada) — Whore of Babylon
Barely Methodical Troupe (England) — Bromance
Water on Mars (Sweden)

Aloft Circus Arts (US) — Dinner of our Discontent
Barely Methodical Troupe (England) — Bromance
Water on Mars (Sweden)

EMCEE: Sxip Shirey


Article: High Flying and High Minded: Circus Academics Convene at NYU (Observer)  “Before the show, a panel of academics in the circus arts and high-ups from Cirque du Soleil discussed the state of contemporary circus.” —Justin Joffe, January 20, 2015

Review: Company Water on Mars, Andréane Leclerc /Nadère Arts Vivants, and Barely Methodical Troupe at Circus Now (StageBuddy)
“Much of the circus arts exist outside of a big top. This is evidenced by the three groups that performed in Friday’s International Contemporary Circus Expo at NYU’s Skirball Center. The expo was sponsored by Circus Now, a nonprofit dedicated to supporting the circus arts in the U.S. All three groups brought something very different to the stage, demonstrating just how diverse the circus can be.” —Tami Shaloum, January 17,2016

Review: Circus Now International Contemporary Circus Exposure (Times Square Chronicles)
“Circus Now really lives in the present. It is a conceptually stunning departure from the traditional circus that one would imagine with clowns on tricycles passing out cotton candy and girls in pink frilly tutus with parasols, walking the tight rope. This modern retake is quite exciting and expressive in its own right.” —Nora Davis, January 17, 2016

Article: Festival Seeks to Define the Next Wave for Circus Arts (The Wall Street Journal)
“Forget elephants—the Circus Now festival showcases how new companies incorporate more theater and dance.” —Sophia Hollander, January 14, 2016

Review: Circus at APAP: Acrobatic Conundrum (Seattle), Company Oktobre (Paris) (InfiniteBody)
“Dance, theater, performance folks, scoot over a bit, won’t you? Circus has arrived, taking its place among the city’s vast APAP-related offerings. The mission? To make visionary, contemporary circus as thriving an artform in the US as it is abroad.” —Eva Yaa Asantewaa, January 14, 2015

Review: Circus Now (Theater Pizzazz)

Article: Seven International Circus Companies Coming to NYU Skirball in January (BroadwayWorld) – December 2, 2015

Interview:  BWW TV Exclusive: Tony Winner Susan Hilferty Compares Costume Design in Theatre & Circus! (BroadwayWorld)
“NYU Skirball has partnered with Ringling Bros. and Barnum & Bailey to present a circus-themed costume exhibit in 13 large display windows adjacent to the Skirball Center. The exhibit will also feature circus memorabilia, photographs and historical information, and will be on display from December 23 – January 18, 2016.” —BroadwayWorld TV December 23, 2015

Article: NYU Heralds Circus Now 2016 with Window Exhibit of Ringling Costumes (Amusing the Zillion blog) —Tricia, January 11, 2016

Panel Discussion: Contemporary Circus Now!, January 15 5:30-7:00pm
FREE to the public with RSVP
Location: Kimmel Center Room 909
60 Washington Square S, New York, NY 10012

NYU Skirball Center presents a panel discussion given by scholars and experts in the field of contemporary circus. Join us as they share their unique perspective on the importance and challenges of presenting contemporary circus today, the training and mental preparation that goes into this type of artistry, and current trends in the field of circus research.

About the Circus Now Companies:
Founded in 2012, Acrobatic Conundrum, based in Seattle, is dedicated to creating performance experiences that engage and amaze audiences. Conundrum shows feature moments of absurd and intimate humanity, and are dedicated to a vision of human courage, connection, and collaboration. The company has performed in various venues around the Pacific Northwest, headlined the Chicago Contemporary Circus Festival, was a featured performer at the Vancouver CircusFest, and hosted the THREE HIGH Circus Series in Seattle

Website: Acrobatic Conundrum

Full Video: Acrobatic Conundrum | Talks at Google  
Video Clip: The Acrobatic Conundrum presents The Way Out
Video Clip: Rope Battle Royale ACV3 5/10

Interview: Terry Crane, Founder of Acrobatic Conundrum, on the Life of a Circus Artist (StageBuddy)
“Acrobatic Conundrum, Seattle’s premier contemporary circus arts company, will be performing The Language of Chance at the NYU Skirball Center on January 14th as part of Circus Now 2016. Acrobatic Conundrum is led by Artistic Director and Co-founder, Terry Crane, an expert at vertical rope and practitioner of capoeira, contact improvisation, hip-hop dance, physical theater, and tree climbing.” —Kathryn Turney, January 11, 2016

Review: Acrobatic Conundrum’s “The Language of Chance” Opens Two Weeks of Amazing, Intimate Circus at 12th Avenue Arts (The Huffington Post)
“Everyone in this troupe is a star, and yet each character also steps back to support the others in some feats of daring that left me continually wondering, “how can a person do such a thing with their body?” —L. Steven Sieden, May, 5, 2015


A winner at the prestigious Jeunes Talents Cirque/Circus Next Awards in 2013, Oktobre features three of France’s top young circus-theatre talents, combining their trapeze, acrobatic and magic talents in a surreal circus-theater drama. It can be seen as a circus show with outrageous characters in a world of dark fantasy, where the notions of time and logic are absent or as a sharp look at human behavior.

Website: Octobre

Trailer: Oktobre

Article: OKTOBRE / CIE OKTOBRE (Circus Work Ahead!)

Nadère Arts Vivants, founded by Montreal-born contortionist and storyteller Andréane Leclerc in 2013, is a non-profit organization whose mission is to create, produce and broadcast experimental hybrid works, combining circus language with a dramaturgic line. Whore of Babylon is Leclerc’s reinterpretation of the biblical story of creation and the Book of Revelation, featuring five circus-trained performers and original music by Martyn Jacques of the Tiger Lilie

Website: Nadère arts vivants

Trailer: Cherepaka

Blog: Andréane Leclerc 
Article: Andréane Leclerc and “The Whore of Babylon”Marion Gerbier, September 1, 2015

Barely Methodical Troupe, founded in London in 2013, features three graduates from the U.K.’s National Centre for Circus Arts, all winners of the inaugural Circus Maximux competition. The acrobats fuse Hand-to-Hand and Cyr Wheel with a through line of creative dynamic movement. Bromance celebrates all things “blokey” through a series of heroic, risk-taking physical feats. With an inventive mix of flawlessly-timed acrobatics, shoulder-high balances and a jaw-dropping routine inside a spinning metal wheel, the trio explores male companionship and its limits

Website: Barely Methodical

Trailer: Bromance
Trailer: BMT
Video Clip: Contemporary circus: Bromance by Barely Methodical Troupe
Video Clip: Circus Now‘s London Blokes, The Barely Methodical Troupe, Are Ready to Blow Your Mind

Article: Bromance (Crying Out Loud)
“Meet Britain’s hottest young acrobats, Barely Methodical Troupe. This exceptionally skilled all-male trio won a Total Theatre Award at the 2014 Edinburgh Festival for their outstanding debut Bromance, and it’s easy to see why.”—Crying Out Loud

Water on Mars features three young jugglers who studied at Stockholm’s Dance and Circus University. Their tricks are as physical as break dance and as stylized as Japanese pop art. The trio brings a performance full of dynamic airborne images: 100 rings are thrown, backflips are landed, feet are twisted, water is flipped, 21 balls are juggled and 15 clubs spin around the 3 bodies while an electro beat keep the rhythm

Website: Water on Mars

Trailer: Water on Mars

Article: Subcase- Subtopia Circus Fair (Sideshow Circus Magazine)

Aloft Circus Arts, based in Chicago, is a collection of earth-bound aerial and circus artists, expressing themselves without regard to gravity. Aloft reveals more than just the splendor and danger inherent in the circus arts; they construct accessible, purposeful stories, drawn from the juxtaposition of artistic, emotional and physical extremes. The results are acts and full-length productions that are powerful, dangerous, hilarious and passionate; where spectacle lies not in special effects or elaborate sets, but in the intensity, beauty and captivating nature of the human body entwined in circa.

Website: Aloft Circus Arts

Trailer: Aloft Circus Arts





BEYOND THE STAGE with Dog Days Opera


Dog Days is a work of contemporary music-theatre from celebrated composer David T. Little that incorporates elements of opera, musical theatre, and rock-infused concert music to investigate the psychology of a working-class American family pitted against a not-so-distant-future wartime scenario. Based on a powerful short story by Judy Budnitz, Dog Days is set in the aftermath of an unimaginable catastrophe as a family struggles to survive. The teenage daughter clings to hope, unwilling to accept their dire situation, until a disturbing stranger shows up at the doorstep.

Show Website

Dog Days Trailer


Review: Opera Review: Dog Days Is ‘Intolerable and Superb’ (Vulture)
“With a blunt, merciless libretto by Royce Vavrek and wheeling, nimble music by David T. Little, Dog Days portrays an American family brutalized by war, and the result is by turns intolerable and superb.”—Justin Davidson, January 11, 2016

Review: David T Little presents ‘opera theater’ at its finest (The Guardian)
“Led by conductor Alan Pierson, singers and actors handle the composer’s complex, percussive and hook-filled music with suave assurance”—Seth Colter Walls, January 10, 2016

Review: In ‘Dog Days,’ a Family Clawing for Survival (New York Times)
“With its boldly eclectic score and powerful libretto, “Dog Days” tells an apocalyptic story unstintingly”—

Interview: Tony Award Nominee, Lauren Worsham Shines in the Darkness (Center on the Aisle)
“Tony award nominee, Lauren Worsham — best known to Broadway audiences as murderous Monty’s fiancée, Phoebe in “A Gentleman’s Guide to Love and Murder” — has taken a turn past musical comedy and found herself deep in darkness. Not as a villain however, but in style, as a performer and leading lady having just released her first full-length album, “Beautiful Monster” with her indie-pop band, Sky-Pony and in the post-apocalyptic opera, “Dog Days” at NYU’s Skirball Center”—Steve Schonberg, January 8, 2016

Interview: Dog Days at the Prototype Festival (CurltureRadar)
“Dog Days is told from the perspective of 13-year-old Lisa, who, after her family survives an apocalyptic event, befriends a man trying to survive by becoming a dog. Culturadar blogger Shoshana Greenberg talked to Vavrek and David T. Little, composer of Dog Days, about their experience in the festival, their collaboration, and writing for a dog-man.” —Shoshana Greenberg,  January 6, 2015

Article: Angels, Demons and Opera: Boundary-Pushing Programs (The Wall Street Journal)
“If you wrote a five-minute string quartet about the fall of civilization, the tone of it would have to be really direct,” said David T. Little, the composer of “Dog Days,” about a nuclear family’s meltdown in a post-apocalyptic world, and its telltale responses to a stranger who has chosen to regress into a canine-like persona.” —Steve Dollar, January 5, 2015

“I don’t know how I made this career,” he acknowledges to us during our talk with him in his Bushwick apartment. “I’m legitimately only writing libretti. Aside from doing a couple of classes at different universities and one-offs, I’m not working in any other capacity. I’m making no money besides from writing libretti and lyrics.””  —Frank J. Oteri, January 1, 2016

Article:  Fully Committed: The Prototype Festival redefines contemporary opera. (The New Yorker)
“Amidst the general uncertainty of New York’s operatic scene, the Prototype Festival, an annual explosion of youthful energy spearheaded by Beth Morrison Projects and the experimental theatre space HERE, has built a clearly defined profile: brash, socially engaged, and substantially post-classical.”— Russell Platt, January 11, 2016 Issue

Article: ‘Dog Days’ Is Centerpiece of Prototype Festival (NY Times)
For new music, the main difficulty isn’t getting a premiere. It’s getting a second performance, and a third, and a fourth, the repetitions necessary for a piece really to enter the cultural bloodstream. That hasn’t been a problem for the acclaimed opera “Dog Days,” a post-apocalyptic family drama based on a short story by Judy Budnitz.” December 31, 2015

Interview: Interview: John Kelly on Getting in Touch with His Feral Side for Post-Apocalyptic Opera ‘Dog Days’ (StageBuddy)
“Performance artist John Kelly is known for his emotionally and intellectually complex works in which he draws from elements of his own life, current politics and other arts. Going from writing, to singing, to acting, Kelly is always on the lookout for the next challenge, and in the contemporary opera Dog Days (co-presented by NYU Skirball Center, Beth Morrison Projects and HERE’s Prototype: Opera/Theatre/Now) he might have found one of the most exciting projects yet.” —Jose Solis

Interview: BWW Interview: Lauren Worsham Talks Sky Pony, Dog Days and Makes an Exciting Announcement! (BroadwayWorld)
“Tony nominee Lauren Worsham spoke with BroadwayWorld about her new Sky Pony album and upcoming role in Dog Days.”—Reilly Hickey, December 23, 2015

Article: Notable Performances and Recordings of 2015 (The New Yorker) “Amid a spate of ineffectual American operas on inoffensive themes, David T. Little’s “Dog Days,” which had its première in 2012 and which I saw in a presentation by the L.A. Opera, is stunning in its ferocity.” —Alex Ross, December 15, 2015

Article: The Kaleidoscopic World of Royce Vavrek (Opera News)
“His words give a bizarre lift to contemporary opera. This spring, librettist Royce Vavrek’s Dog Dayscomes to Fort Worth and L.A. HEIDI WALESON talks with one of opera’s freshest new voices.” —Heidi Waleson,, The Wall Street Journal, April, 2015

Article: The Battle to Make Opera Cool: Meet the Bright Young Things of New York City’s Opera Renaissance (The Daily Beast) “It took the hard work of producer Beth Morrison to give David T. Little the platform he needed. Morrison first heard of him when she was sent his song cycle “Soldier Songs.” She cried throughout the entire thing. Cut to the first PROTOTYPE and the work is being staged before an audience, and she helped to stage Dog Days, too.”— David Levesley, March 1, 2015


Join us for a post-show discussion and Q&A with composer David T. Little and librettist Royce Vavrek, moderated by Randall Eng, Assistant Arts Professor, Graduate Musical Theatre Writing , NYU Tisch School of the Arts.



Working as a Collective with “Shadowland” Creative Director Mark Fucik


NYU Skirball Student Insiders participate in a Pilobolus-inspired workshop with Shadowland Creative Director, Mark Fucik

On Thursday November 19, students gathered in NYU Skirball’s Studio where they met with the Creative Director of Pilobolus’s Shadowland, Mark Fucik, for an interactive workshop focusing on working as a collective to create new movement.

From dance to sociology majors, students were given the opportunity to connect their own interests of study to this creative process of working. For Pilobolus, it’s not so important that students are technically trained dancers as long as they have the willingness to move and work collaboratively, skills which benefit students of any major.


Mark began the workshop with spacial awareness exercises to get students familiar with their surroundings and familiar with the idea of using their bodies to fill empty space. Next, they played with the concept of leading and following and in groups they practiced seamlessly transferring movement from one person to the next.

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Mark explained the importance of the ensemble within the Pilobolus company. Since the success of their shapes and formations are tied to each member in the group, when one person is leading they also have to be following. The workshop participants then observed and imitated each others’ movement with the goal of making the sequences as precise as possible. Pilobolus performers often move as one unit and not individually. If one person is out of sync it is noticeable.


The workshop ended with the participants working in pairs to create interesting shapes using each others’ body weight.


One person acted as a base while the other partner perched on top. Partners played with using different points of contact to see how that affected their strength. The result: pure magic! Take a look at some of the interesting moments that came out of this final exercise:

Student Insider Eugenia commented on her experience of the workshop saying, “It’s always so nice to see people from different backgrounds come together to create something unexpectedly beautiful out of trust and imagination”.

Pilobolus’s Shadowland will run at NYU Skirball Center for the Performing Arts from Nov.20-Dec.6

BEYOND THE STAGE with Pilobolus


Following sold-out performances throughout Europe and Asia, Pilobolus’s Shadowland makes its North American Premiere at NYU Skirball. Pilobolus’s Shadowland is a mix of shadow theater, dance, circus, and concert, incorporating multiple moving screens of different sizes and shapes to create a performance that merges projected images with front-of-screen choreography. Shadowland was the first show of its kind to combine shadow theater with dance and has since inspired many similar productions around the world

Pilobolus website

Review: BWW Review: Pilobolus Presents SHADOWLAND (BroadwayWorld)
“The remarkable quality of the Pilobolus dancers is that they can fulfill dual roles as both storytellers and athletic dancers.” —Jennifer Fried December 1, 2015

Review: Shadowland (Eye On the Arts, NY)
“The show’s strength lies in the charms and malleability of shadows, Pilobolus’ torrent of ideas, most winningly with their play on framing and perspectives.” —Deirdre Towers, November 29, 2015

Review: Shadowland  (Lighting and Sound America)
“You don’t find many — or any — dance reviews in this column, but, for sheer mastery of a specific stage effect, Shadowland is hard to beat.” —David Barbour, November 25 2015

Review: In “Shadowland,” Pilobolus invents a form of silhouetted kinetic poses (The Komisar Scoop)
“Pilobolus takes dance theater to a new dimension, transforming the performers to silhouetted figures behind a screen, using body artistry to turn dancers into shadows of elephants, café tables, lobsters and a centaur.” — Lucy Komisar, November 2015

Review: Stage Door: Shadowland, Ripcord (Huffington Post)
“It’s amazing what you can do with a dancer, a screen and eerie lighting.
Shadowland, a haunting, hypnotic phantasmagoria, now at NYU’s Skirball Center for the Performing Arts, is a triumph of ingenuity.” —Fern Siegel, November 24, 2015

Review: Pilobolus in ‘Shadowland’ (Stage Buddy)
“Shadowland is an Alice in Wonderland for the new age” —Melanie Brown November 24, 2015

Review: In ‘Shadowland’ Opening the Makeup Case and Unleashing a New World (The New York Times)
“Shadowland is deft, teeming with clever tricks of the body, scenery and light.”—Siobhan Burke, November 23 2015

“Shadowland is for adults and children alike. As much theater as dance, it’s theatrical, magical, and thoroughly entertaining.”—Alix Cohen, November 23, 2015

Review: Pilobolus: Shadowland North American Premiere (Critical Dance)
“Shadowland impresses as an edgy combination of dance, circus, acrobatics, and theatrical magic; a joyous extravaganza every bit as worthy of seasonal celebration as The Nutcracker.” —Jerry Hochman, November 21, 2015

Interview: Pilobolus’ Executive Director, Itamar Kubovy, on the North American Premiere of Shadowland (StageBuddy)
“World-renowned dance company Pilobolus premieres Shadowland later this month at the NYU Skirball Center for the Performing Arts. We talked to Executive Director Itamar Kubovy about the show, the company’s process, and what’s in store for the future.” — Melanie Brown, November 12, 2015

Interview: BWW Interview: Itamar Kubovy Talks Pilobolus’ Shadowland (BroadwayWorld)
“Itamar Kubovy, one of the creators of the show, spoke with BroadwayWorld about how the magic of Shadowland is almost like “SpongeBob meets The Nutcracker.”— Reilly Hickey November 17, 2015

Interview: ‘A Fable Told Through Shadows’: Pilobolus’ Shadowland Makes U.S. Debut (DIYDancer)
“Escape into the world of shadow illusion this November when modern dance troupe Pilobolus brings its evening-length Shadowland to an American stage for the first time.”

Article:  Before Seeing Shadowland, See Five Videos of the Incredible Pilobolus Dance Company In Action (BroadwayBox)— November 19, 2015

Article: Pilobolus Turns Shadows Into Dance (TDF Stages)
“Since 1971, Pilobolus has stretched the ways in which dancers share and shift weight in modern dance” —Lauren Kay, November 19, 2015

Video clip: Pilobolus’ Shadowland on BBC One’s The One Show

Livestream Periscope Talk  November 21 4:00pm
Follow @nyuskirball on Periscope

Pre-Show Lobby Talk November 22 1:00pm
Join us before the performance for a pre-show lobby talk given by the artistic team of Pilobolus. They will discuss the creation of Shadowland and the rediscovery of shadows as a contemporary narrative performance technique. Moderated by filmmaker, Ira Sachs.

Post-Show Discussion and Q&A November 23+24 and December 2+4

Join us for a post-show discussion and Q&A with the artists.