SELECTED LIVE PERFORMANCES

Jarman (all this maddening beauty); Co-creator, Choreographer, Video editor and Performer

A collaboration between John Moletress, force/collision and playwright Caridad Svich

JARMAN (excerpt), Dance Place, October 2014 from force/collision on Vimeo.

VENUES: (2014-2015) Atlas Performing Arts Center (DC), Dance Place (DC), Abrons Arts Center (NYC), King’s College London, Homotopia/unity theatre (UK), The House at Plymouth University (UK), The Gulbenkian (UK), Warehouse 9 (DK), OUTsider Festival (TX), FUNDarte/The Colony Theatre (FL), EMP Collective (MD), George Washington University (DC)

DESCRIPTION: A performative gesture inspired by iconic queer artist, filmmaker and gardener Derek Jarman. Temporal orientations arise and fall away as one artist traces the origins of Jarman’s brilliant queerness. Performed by force/collision’s Founding Director John Moletress with a text by OBIE Lifetime Achievement Award-winning playwright Caridad Svich, JARMAN explores spatial relationships between live performance and media.

QUOTES: “In performance, John Moletress is a powerhouse. Even through the mediated experience
of JARMAN (all this maddening beauty) his capacities have visceral impact…”   –Daniel Alexander Jones, Artist

“Caridad Svich’s JARMAN (all this maddening beauty), directed by and starring John Moletress, is a mesmerizing journey through the sublime essence of the legendary filmmaker. Evocative poetics, arresting visuals, political provocation, and a genderfuck bunny, make for an experience of rare fascination.”  –Curran Nault, Artistic Director, OUTsider

“The ambiguity of Jarman, however, can be seen as one of its strong points. In some ways, the performance is a meditation on what it means to be an artist in our culture.” –Dana Sayre, Journalist, The Horn

“The play is a reminder of Jarman’s unique cinematic ability and voice.” –Andrew Millar, Journalist, Nerve

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Trust me, Text by Falk Richter; Director, Co-creator

VENUE: Arena Stage (DC)

Trust me is a US premiere dance/theatre project with text by German playwright Falk Richter, which explores the body and psyche in Western culture and how they inform our ways of thinking, acting, collaborating and moving through this complex system. Using the mediums of dance, theatre, video and music, force/collision will create an interdisciplinary devised performance which creates a dialogue between German and American culture by exploring the lateral effects of cross- continental influences. This project will also explore the divide between information and sensationalism in modern society and the individual by incorporating notions of consumerism and pop-culture identities.

 

Watch live streaming video from newplay at livestream.com

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Shape by Erik Ehn; Director

A collaboration between force/collision, Erik Ehn and Soulographie

VENUES: Atlas Performing Arts Center (DC), La MaMa ETC (NYC)

A world premiere play connecting to genocidal ideology by way of the Tulsa Race Riot of 1921. This play was one of a sixteen play cycle, which played in repertory at La MaMa ETC in November 2012. Artists from all over the globe developed one of each of Erik Ehn’s plays.


SHAPE Promo: La MaMa ETC from force/collision on Vimeo.
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The Nautical Yards; Director, Co-creator

VENUE: Washington Navy Yard

A collaboration between force/collision and Erica Rebollar/Rebollar Dance

This site-specific dance/theatre work was commissioned by DC Commission on the Arts and Humanities and Capitol Riverfront Business Improvement District.


The Nautical Yards – excerpts 2 from force/collision on Vimeo.

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The Saint Plays by Erik Ehn; Director, Choreographer

VENUE: Church Street Theatre (DC)

This collection of fifteen plays by Erik Ehn is part of an ongoing cycle of plays loosely based on the lives of saints and biblical characters ranging from John the Baptist to Joan of Arc. Placing the protagonists and their suffering in a modern context, Ehn produces what he calls “contemporary fairy tales for the stage.” The subject matter, he explains in the Preface, is “exploded biography,” or “the means by which the self is overmastered by acts of the imagination, by acts of faith.”

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Wendell.; Playwright, Director

VENUE: McDaniel College (MD)

A contemporary riff on Georg Buchner’s 19th century fragmented play.


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Collapsing Silence; Co-creator, Performer

VENUE: Source Theatre (DC)

A collaboration with dance artist Ilana Faye Silverstein and visual artist David Carlson

Collapsing Silence is a meditation in seven fragments about the fragile relationship between humans and the environment.


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Magnificent Waste by Caridad Svich; Director

VENUE: Flashpoint (DC)

A world premiere play. Lizzie B makes shock art.  Arden buys beautiful things.  A young man wants to be famous. In a modern world addicted to sex, drugs, fashion and celebrity, three friends make a pactthat will change their lives. Magnificent Waste explores America’s appetite forexcess and presents an unsettling portrait of its own undoing; a glittering but brutalexploration of modern society’s superficiality and the objectification of the human body.

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4.48 Psychosis by Sarah Kane; Director, Video installation

VENUE: Warehouse Theatre (DC); Capital Fringe Festival (DC)

Sarah Kane’s final play, produced posthumously. 4.48 Psychosis is composed of twenty-four sections which have no specified setting, stage directions or characters. Its language varies between the naturalistic and the highly abstract or poetic, an extension of the style which Kane had developed in Crave, where she had begun significantly to marry form and content.


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The Crucible by Arthur Miller; Director

VENUE: Steel River Playhouse (PA)

SRP was housed in a former Woolworth’s department store in Pottstown, Pennsylvania, my hometown. I remember walking through the aisles of that Woolworth’s looking for candy and toys. Pottstown was affected by the closing of many steel industries throughout the PA corridor, becoming a town challenged by lack of job opportunities and housing. My vision for this play was to create an environment that spoke towards a community affected by an economic plague as it might grow towards the impacting of socio-societal illnesses.


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Our Town by Thornton Wilder; Director

VENUE: Carroll Community College; Produced as an invited production for The Kennedy Center/American College Theatre Festival, 2014


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Foreign Tongue by Martin Zimmerman; Director

VENUE: Source Theatre (DC)

A world premiere produced by Source Theatre Festival

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Mistakes Were Made by Craig Wright; Director

VENUE: Stages Repertory Theatre (TX), area premiere

In MISTAKES WERE MADE, B-list Off-Broadway producer Felix Artifex gets in way over his fast-talking head when he takes on Mistakes Were Made, the first world-premiere of his long and chequered career. Mistakes is a gargantuan epic of the French Revolution which Felix thinks is going to be his ticket to professional and personal redemption—turns out it’s a croissant-lined highway to hell! But maybe, just maybe, if Felix can pull it all together—things just might, maybe, work out. A compact cosmic gem of philosophy and funny-business from the Emmy-nominated writer of Six Feet Under and the award-winning playwright of Lady, Grace and The Pavilion.

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Pippin; music and lyrics by Stephen Schwartz and book by Roger O. Hirson; Director, Scenic Designer

VENUE: Steel River Playhouse (PA)

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SELECTED VIDEO WORK

 

Perfect Day; Directed by John Moletress from force/collision on Vimeo.

Backpack, No Hoodie.; Directed by John Moletress from force/collision on Vimeo.

Yma! Yma! Yma!; Directed by John Moletress from force/collision on Vimeo.

Finding “Trust”; Edited/Directed by John Moletress from force/collision on Vimeo.

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PUBLICATIONS

WendellNPCover
Playwright, pub. NoPassport Press – 2015
41EVrcAWyTL._SX331_BO1,204,203,200_
Original Production Director – 2012
51EEKtDsVjL._SX322_BO1,204,203,200_
Contributing writer – 2015
9781783206223
Contributing Author, 2016

SELECTED ARTICLES:

“Artists and Empowerment: How do we stay engaged with our community in an evolving practice?”, Theatre Communications Group Annual Conference, 2014

“On The Thought Of Taking Action”, HowlRound, 2013

“Violence and theatre making”, Theatre Communications Group Annual Conference, 2013

“Eroticizing Gender in Shakespeare’s R&J”, HowlRound, 2013

UPCOMING:

2016, Editor, What is home? Memory, Place and Performance, Intellect Books UK

Contributors: Holly Hughes, Penny Arcade, Erik Ehn, Daniel Alexander Jones, Dane Terry, Ann Liv Young, Miguel Gutierrez, Paul Soileau