Monthly Archives: October 2014



Last year SITI Company had their inaugural conservatory program.  One year of training in creating theatre using the tools that SITI company does: Viewpoints, Suzuki and composition of devised works.  The culmination of that year was the gorgeous This Is How I Don’t Know How To Dance, which I Got to shoot earlier this year.

Now, several months later, several of the artists have continued to collaborate and create work on their own, supported by SITI Company in the form of mentorship and some access to space.  They presented a first look at their work and asked me to come and photograph them.

I’m totally biased toward SITI Company, their work and the extension of their work ethic and artistic (pardon the pun) viewpoint.  What I saw was beautiful and brave. It was not theatre looking for the easy way out. It’s not about playing to the lowest common denominator in the hope of getting rich. It is theatre borne out of a need to tell stories, to pass on what it means to be us.

This is why I love theatre and what gets me going.

The shows include:

  • The Forgotten Princesses
  • Chekhov Vignette 1: On the Harmful Effects of Tobacco
  • Civility!
  • Chekhov Vignette 2: The Bear
Posted in Shows, SITI Company

Better late than never!

I’ve been having some technical issues with the behind the scenes of my website lately, which has prevented me from posting my latest shows.  Hopefully, we’re past it now, so some new posts will be coming soon!

Posted in Uncategorized

Philadelphia, Here I Come!


I love me some Brian Friel.  One of my fondest memories of theatre was a production of Translations in one of Seattle’s small theatres (I think it was AHA!)  I haven’t seen as much as I would like, so I was happy to get the call from my friend Janet at T. Schreiber to come shoot their  production of Philadelphia, Here I Come!

It is amazing how much theatre you can fit into the small spaces in NYC.  The show is at the Gloria Maddox Theatre, where I’ve shot (and even performed) for a few Nylon Fusion shows.  The set is very evocative of a small Irish home of the 1960s and provides some nice levels and playing spaces for the actors.

The play gives us the last night in Ireland for Gar O’Donnell, before he heads to Philadelphia to stay with his aunt and uncle and work in a hotel.  He’s leaving behind his father and his job at his dad’s shop.  The action is commented on by Gar’s inner voice, his conscience, who seems to say what the public Gar wishes he could.  We see several of the characters who make up his life in Ireland — his widower father who is more boss than father, the doddering headmaster, who might have been the father he could have had, the mother figure housekeeper, his mates and the local Canon who comes to play checkers with his dad.  All of these characters seem to be living their lives by rote.  Even with Gar leaving the next day, not too much seems to be changing about their daily interactions.

Gar is also “visited” by some figures from his past and future — Kate, the  girl who got away, and her father Senator Doogan, who made Gar quite aware that he was not good enough for his daughter and his mother’s sister, his uncle and their friend, all visiting from America and the reason he is invited to come live with them in Philadelphia.

All of these people (with the exception of the American contingent) all seem to be on the verge of asking Gar to stay and he seems so on the edge, that given any excuse — any deviation from the daily ritual of his life — he would stay.  But we never see it happen.

Performances were strong all around and the direction (Jake Turner) kept me wondering if Gar would find what he’s looking for — either in Ireland or in Philadelphia.

Posted in Shows