LOS ANGELES, CA – February 6, 2012 – Nonprofit organization Overtone Industries presents the world premiere of its new opera The Woman in the Wall, with two weekends of performances opening Friday, March 23, 2012 at the Masonic Lodge in Culver City.  Reuniting the award-winning Overtone creative team of the critically-acclaimed 2010 Songs & Dances of Imaginary Lands, The Woman in the Wall is an operatic work by Composer O-Lan Jones and Librettist Kathleen Cramer, conducted by David O, and produced by Vibrant Production Management.  Inspired by the 14th Century tradition of The Anchoress, the opera is a “mystery play” in the ancient tradition; it explores the openings and paths inside that are revealed when all doors are locked shut.  For more information, please see http://www.overtoneindustries.org and https://www.facebook.com/overtoneindustries

The opera, which is written in Medieval modes using instruments of the time, will run for two weekends – on Fridays and Saturdays – from March 23 to March 31, 2012 with performances starting at 8:00pm.  Ticket prices are $25 for Peasants (seating closest to the performers), $40 for Royalty (seating in the middle of the performance space), and $50 for the Virtuous (reserved seating on an elevated platform).  Online tickets can be purchased via http://www.overtoneindustries.org or by calling Overtone Industries at 323-655-2410.  Performances, which are ceremonial in nature, will be held in the atmospheric Masonic Lodge at 9635 Venice Boulevard, Culver City, CA 90232 (http://culvercitymasons.org; 310-836-0467). The show is suitable for mature teen and adult audiences.

The subject of the production is inspired by the 14th Century tradition of The Anchoress – a woman who volunteers to be enclosed for the rest of her life in a church cell – with one window open to the sacred world and the other open to the ordinary world.  Over the course of seven days, which cover seventeen years, we follow The Anchoress, “Marianna” (Gretchen Johnson), as she becomes the inspirational advisor to everyone from the peasants to the king.  As we follow her journey inward through her temptations, doubts, revelations, and fears, we see how she transforms the people’s questions in relation to the Seven Virtues that light her way.  Ultimately, the work is a “mystery play” in the ancient tradition; it explores the openings and paths inside that are revealed when all doors are locked shut.  The production features an orchestra of 10 instrumentalists, a cast of a dozen principal singers, and a 30-member chorus from the Angel City Chorale, led by Sue Fink.

 

The Woman in the Wall is a new operatic work written in Medieval modes by Composer O-Lan Jones and Librettist Kathleen Cramer. In balcony - Livia Reiner, Kathleen Kelso, and Octavia Leclerc-Jones. Below - Gretchen Johnson as Marianna. Photo Credit: Emily Brooke Sandor

Credits –
The Woman in the Wall reunites the innovative Overtone Industries creative team of Composer O-Lan Jones, Librettist Kathleen Cramer, Conductor David O, and producer Vibrant Production Management, that most recently collaborated on the critically-acclaimed experimental opera Songs & Dances of Imaginary Lands, which was honored with Ovation Award nominations for Music Direction and Scenic Design, and a win for Costume Design for the 2009-2010 season.

- Composer & Director – O-Lan Jones
- Librettist – Kathleen Cramer
- Music Director – David O
- Scenic & Costume Designer – TBA
- Marianna, The Anchoress – Gretchen Johnson
- Remaining Cast & Orchestra – TBA
- Producer – Vibrant Production Management

O-Lan Jones, Director & Composer –
O-Lan Jones is the Artistic Director of Overtone Industries, guiding her company in the creation of new mythological operas and theatricales. Miz Jones is a full-service artist – an award-winning actor, sound designer, writer and composer.  She has been consistently involved in experimental theater, music and opera since the age of 16.  She originated roles in the plays of Sam Shepard, Julie Hebert, and Beth Henley, among others.  The press has referred to her as an “uncategorizable legend.”

As an actress she has worked with directors Tim Burton, Jonathan Demme, Ivan Reitman, Paul Schrader, John Schlesinger, Oliver Stone, Peter Weir, and Paul Bartel who directed Shelf Life, a movie she wrote and starred in.  She is perhaps best known for playing Esmeralda, the reclusive Christian organist in Edward Scissorhands, and numerous waitress roles (Seinfeld, Shoot the Moon, Miracle Mile, Natural Born Killers, and The Truman Show).  A repeat member of Burton’s ensemble casts, she also played hick trailer-dwelling mama Sue Ann Norris in Mars Attacks! Television credits include Lonesome Dove and The X-Files; and she was a series regular on CBS’s Harts of the West.

Last summer she sang a major role in Terry Wolverton & David Ornette Cherry’s opera Embers at Grand Performances in downtown LA.  She will soon appear in Aram Rappaport’s new film Syrup.

Miz Jones has worked as a composer creating original music, songs, sound designs and scores for more than 40 productions.  On the West Coast she has written music for Padua Hills Playwrights, LA Women’s Shakespeare Company, San Diego Rep, the Taper Too and California Shakespeare Festival in the Bay Area.  On the East Coast, her music has been showcased at Playwright’s Horizons, the Workhouse, La Mama, and the Kurt Weill Recital Hall at Carnegie Hall.

She was the director, choreographer and one of the 11 composers who created Songs and Dances of Imaginary Lands.  The critically-acclaimed opera was called “an ambitious, possibly groundbreaking new opera” (Mark Swed, Los Angeles Times), “epic avante-garde opera… a carnival fun house” (Anthony Byrnes, KCRW), and “a feast for the senses” (Mayank Keshaviah, LA Weekly).

She has composed three short operas; five musicals; and has scored two short films.  Jones is also the Founder and Artistic Director of Overtone Industries, whose work the Los Angeles Times called “audaciously experimental entertainment.”  www.o-lanjones.com

Kathleen Cramer, Librettist –

Kathleen Cramer is a Bay Area artist who has written for Overtone Industries for many years.  In San Francisco, she began a serious collaboration with O-Lan Jones, yielding five operas.  In addition to The Woman in the Wall, she collaborated with Jones on the critically-acclaimed Songs & Dances Of Imaginary Lands in 2010.  She also wrote Happy Hour Becomes Electra, for Overtone’s production String of Pearls, and collaborated with Jones on The Man Whose Brother Was Eaten by Wolves and The Woman Who Forgot Her Sweater, which premiered at [INSIDE] the Ford.

After beginning her career in New York’s Off-Off Broadway scene, working with many cutting edge playwrights, Cramer co-founded the Padua Hills Playwrights Festival in Los Angeles, which held both a school and an acclaimed festival every summer for 18 years. She also writes for the magazine Works and Conversations as a contributing editor.


David O, Music Director –
David O is an award-winning composer, performer, and musical director.  His work has been featured at Walt Disney Concert Hall, The Kennedy Center, The Mark Taper Forum, and the Hollywood Bowl, as well as other venues in Los Angeles and around the world.  His choral composition, A Map of Los Angeles, was commissioned by the LA Master Chorale with performances at Walt Disney Concert Hall in 2008 and 2009.  Thousands of Los Angeles children and their parents know David as “The Professor” for his six years of performances with Summersounds at the Hollywood Bowl, produced by the Los Angeles Philharmonic.  His original musicals include The Very Persistent Gappers of Frip and The Legend of Alex, both commissioned by Center Theatre Group’s P.L.A.Y. Program, and Imagine, commissioned by South Coast Repertory Theater. The Very Persistent Gappers of Frip was performed as part of the inaugural season of the Kirk Douglas Theater.

David is the musical director, arranger, and co-composer for Disney Creative Entertainment’s new production, Toy Story: The Musical, which opened at Disney California Adventure in 2011.  Some of David’s most unique work includes non-traditional theater pieces for which he served as both musical director and composer.  Most notably, he created an entirely a capella score for Hippolytos, a new translation of Euripides’ tragedy commissioned to inaugurate the Fleischman Theater at the newly-refurbished Getty Villa in Malibu.  In addition, David was the composer, musical director, and on-stage pianist/percussionist for A Noise Within’s production of Ubu Roi, for which he received the 2006 Ovation Award for Sound Design in a Large Theater.  For the 2009-2010 season, he was nominated for an Ovation Award in Music Direction for Overtone’s Songs and Dances of Imaginary Lands.

David has musically directed countless musical theater productions in the Los Angeles area, including the world premiere of 13, the musical by Jason Robert Brown.  He has also served as musical director for the West Coast premieres of Michael John LaChiusa’s The Wild Party and Little Fish.  Other notable productions as Musical Director include The Last 5 Years (Pasadena Playhouse), The Shaggs: Philosophy of the World ([INSIDE] the Ford), and Divorce: the Musical (Hudson Mainstage). http://www.davidomusic.com

Gretchen Johnson, The Anchoress “Marianna” –
The Woman in the Wall, written especially for her by O-Lan Jones and Kathleen Cramer, is Gretchen Johnson’s fourth collaboration with Overtone Industries. Johnson performed in the company’s epic performance of Songs and Dances of Imaginary Lands, staged in a sprawling, empty Culver City car dealership where the production received rave reviews, including one from the Los Angeles Times’ Mark Swed.  She appeared in the Overtone presentations of Herakles and the Hydra at The Met Theater and New York’s Carnegie Hall, and The Woman Who Forgot Her Sweater, also written for her, at [Inside] the Ford.  She is currently at work on a recital of under-sung and unsung music of Hollywood composers and poets.  In addition to concert stages and recital halls, she has produced and performed recitals at the Goethe Institute and other local venues including coffee houses, private salons, retirement villages and the historic steps of Echo Park’s Delta Street.  A specialist in new music theater, she has premiered works by Meredith Monk and the BOBS and, in a role written especially for her, she toured for two seasons with the Los Angeles Opera’s community production of Who Wants To Be An Opera Singer?  An active recitalist and concert performer, she has performed new works by Los Angeles-based composer Enrique Gonzáles-Medina, including Siete Poeminimos, Los Versos de la Maestra, and concert presentations of his opera Serafina y Arcángela.

Angel City Chorale –
Angel City Chorale, conducted by Founder/Artistic Director Sue Fink, i
s a multi-talented, multicultural choir ensemble of 160 men and
 women that truly reflects the spirit of Los Angeles, the city it calls
 home.  Performing an extraordinary repertoire, ranging from Classical a
nd Folk to Pop and Gospel, has become the group’s hallmark.  Angel
 City Chorale has appeared at such venues as Staples Center, the Los A
ngeles Convention Center, the Dorothy Chandler Pavilion and the John A
nson Ford Amphitheater.  The choir has performed with Stevie Wonder,
 Luther Vandross, and Mary Chapin Carpenter.  Angel City Chorale has b
een selected by internationally acclaimed Music Director and Record Producer Frank McNamara to appear in an hour-long PBS special, The
 American Tenors. http://www.angelcitychorale.org

Vibrant Production Management, Producers –
Vibrant Production Management works with artists of various disciplines to create and manage original, vivid artistic experiences. Vibrant offers comprehensive production services from concept to completion. Beginning with a shared vision, the firm assembles teams of artists and managers to provide energy and movement to a project. The firm handles logistics, allowing the artistic product to be presented as high-quality, seamless entertainment. Providing hands-on production management coordination from scheduling to show calling, Vibrant works in collaboration with artists to bring ideas to life. Vibrant Production Management is a partnership between Sara Adelman and Michelle Magaldi.  Adelman and Magaldi have been producing and managing live events together for over ten years in and around Los Angeles as independent contractors and employees of award-winning arts organizations. 

http://vibrantmgmt.com

Overtone Industries –
Emmy and Dramalogue award-winning Overtone Industries creates vivid, original myths and fables, bringing them to life in the form of opera and music/theater.  The organization is passionate about live performance and its transformational power, created as performers and audiences participate together in each unfolding moment.  Overtone believes that artistic expression is an essential ingredient to our lives; a catalyst for artists and audience members to understand themselves and each other in a fresh new way.  By exploring new relationships among words, acting, movement, and music, the non-profit ultimately seeks to create work geared to invite a broad demographic of people to experience together the Big Questions and the Big Joy of being alive.  Overtone Industries’ work has been performed in San Francisco, Los Angeles, and in New York at the Kurt Weill Recital Hall in Carnegie Hall. http://www.overtoneindustries.org

Support –
Overtone Industries currently receives support from Achilles Foundation, Los Angeles County Arts Commission, Los Angeles Department of Cultural Affairs, Metabolic Studio, The National Endowment for the Arts as well as a plethora of generous individual donors.

For more information, to request images, or arrange interviews please contact Green Galactic’s Lynn Tejada at 213-840-1201 or lynn@greengalactic.com.

The Woman in the Wall, a “mystery play” in the ancient tradition, explores the openings and paths inside that are revealed when all doors are locked shut. Foreground - Gretchen Johnson as Marianna. Background - Livia Reiner, Octavia Leclerc-Jones, and Kathleen Kelso. Photo Credit: Emily Brooke Sandor

The Industry

The Industry Presents The World Premiere Of

Crescent City, A Hyperopera
Set Within Cityscape Installations By Six LA-Based Contemporary Artists
Thursday, May 10 – Sunday, May 27, 2012

At Atwater Crossing in Los Angeles

LOS ANGELES, CA – February 2, 2012 – The Industry presents the world premiere of Crescent City, a hyperopera by composer Anne LeBaron and librettist Douglas Kearney, under the direction of Yuval Sharon, from Thursday, May 10 to Sunday, May 27, 2012 at Atwater Crossing in Los Angeles.  The massive new site-specific production, which audiences will experience in 360-degrees, is set in a mythical cityscape with abstract sets by an extraordinary group of six LA-based installation artists. The installations will be on view on select days for the run of the production, then transformed in the evening with performances of the opera.  For more information, www.TheIndustryLA.org.

With a gala opening of the opera on Thursday, May 10, 2012, Crescent City will run for three weeks, Thursdays through Sundays, closing on May 27, 2012.   All performances begin at 8:00pm.  Ticket prices range from $25 to $100 and will be available via http://theindustryla.org/tickets/ starting April 1, 2012.  Performances are suitable for audience members 12-years-old or older.  Collaborating visual artists include Mason Cooley, Brianna Gorton, Katie Grinnan, Alice Konitz, Jeff Kopp and Olga Koumoundouros – all members of the vibrant Los Angeles art scene.  On Friday, May 11, 2012, The Industry will host an artists’ reception on set, inviting guests to see the installations up close.  Installations are on view to the public on Wednesdays and Saturdays from noon to 6:00pm, with guided tours hourly during the run of the production.  Atwater Crossing is located at 3245 Casitas Ave., Los Angeles, CA 90039 (www.atwatercrossing.com).


More About Crescent City –
In the wake of a devastating hurricane, Crescent City is a shell of its former self where the few remaining inhabitants struggle for survival.  The bad waters of an impending new storm wake up the notorious ghosts of the city’s past, including the legendary voodoo goddess Marie Laveau (played by Gwendolyn Brown).   Marie pleads with the awakened voodoo gods to save the city. They agree to come to her aid on one condition: they must be able to find one good person among the ragtag and desperate citizenry.  Crescent City becomes a travelogue in search of the one who will make the city worthy of salvation.

Anne LeBaron’s hybrid sound world encompasses an otherworldly brew of electronica, bluegrass, jazz, and improvisation. The production includes a live 16-piece orchestra (including Timur and the Dime Museum) with such diverse instrumentation as laptop, chromelodeon, and shakuhachi.

Audience members will be seated in and around the city, seeing and hearing the action in every other part of the city through live video streams and sophisticated sound technology.

“I’m excited by the different ways audiences will be able to experience the work,” says Director Yuval Sharon. “Letting imaginations run wild when the space is open during the day should increase people’s curiosity about how the opera plays out by night.”

To listen to “The Nurses’ Scene,” an excerpt from a Crescent City workshop performance at New York City Opera’s VOX in 2006, please click http://theindustryla.org/wp-content/uploads/2012/01/Crescent-City-excerpt-nurses.mp3.

A detailed synopsis of Crescent City can be viewed at http://www.annelebaron.com/Crescent_City_synopsis.pdf

Hyperopera –
Hyperopera, a concept that has evolved in LeBaron’s work and teaching at California Institute of the Arts, is a mega collaboration bringing together artists from many different disciplines.  Crescent City unites not only the creative voices of the writers and producers, but also contemporary visual artists with the set, lighting, video, and sound designers.  Crescent City is LeBaron’s most ambitious experiment with this theory to-date.

Crescent City Credits –
- Composer – Anne LeBaron – www.annelebaron.com
- Librettist – Douglas Kearney – www.douglaskearney.com
- Director – Yuval Sharon – www.yuvalsharon.com
- Conductor – Marc Lowenstein
- Producer – Laura Kay Swanson
- Curator – Brianna Gorton – http://briannagorton.otherpeoplespixels.com/home.html
- Set Designer – Sibyl Wickersheimer – www.sawgirl.com
- Costume Designer – Ivy Chou
- Lighting Designer – Elizabeth Harper – www.eharperdesign.com
- Sound Designer – Martin Gimenez
- Video Designer – Jason Thompson
- Technical Director – Eric Nolfo

Visual Installation Artists –
- Mason Cooley – http://masoncooley.blogspot.com
- Brianna Gorton – http://briannagorton.otherpeoplespixels.com/home.html
- Katie Grinnan – http://www.artnet.com/magazine/features/honigman/honigman8-4-04.asp
- Alice Konitz – alicekonitz.com
- Jeff Kopp – http://redlingfineart.com/artists/jeff-kopp
- Olga Koumoundouros – www.vielmetter.com/artists/olga-koumoundouros.html

Timur & the Dime Museum (photo credit: Sandra Powers)

Cast –
The cast of 18 includes:
- Marie Laveau – Gwendolyn Brown – http://www.gwendolynbrown.com
- The Good Man – Cedric Berry – http://www.cedricberry.com/Cedric_Berry/Home.html
- Deadly Belle – Timur Bekbosunov – www.theoperaoftimur.com
- Homesick Woman – Lillian Sengpiehl – http://tinyurl.com/Robert-Gilder-L-Sengpiehl
- Jesse – Anthony Faatolia – http://www.ashleyfaatoalia.com
- The Nurses – Maria Elena Altany and Ji Young Yang
- The Cop – Jonathan Mack – http://www.jonathanmack.la/


Anne LeBaron –
Anne LeBaron’s compositions embrace an exotic array of subjects encompassing vast reaches of space and time, ranging from the mysterious Singing Dune of Kazakhstan, to probes into physical and cultural forms of extinction, to legendary figures such as Pope Joan, Eurydice, Marie Laveau, and the American Housewife.  Widely recognized for her work in instrumental, electronic, and performance realms, she has earned numerous awards and prizes, including a Guggenheim Foundation Fellowship, the Alpert Award in the Arts, a Fulbright Full Fellowship, an award from the Rockefeller MAP Fund for her opera, Sucktion, and a 2009-2010 Cultural Exchange International Grant from the Los Angeles Department of Cultural Affairs for The Silent Steppe Cantata.  Also an accomplished harpist, LeBaron is renowned for her pioneering methods of developing and implementing extended harp techniques, electronic enhancements, and notation in compositional and improvisational contexts.  She currently teaches composition and related subjects, such as Concert Theater and Hyperopera, at the California Institute of the Arts. http://www.annelebaron.com

Douglas Kearney –
Douglas Kearney’s work as a poet, performer and librettist has been featured in many fine publications and venues in print, in-the-flesh and in digital code.  His first full-length collection of poems, Fear, Some, was published in 2006 (Red Hen Press).  His second manuscript, The Black Automaton, was chosen by Catherine Wagner for the National Poetry Series and was published by Fence Books in December 2009.  In 2010, it was named a finalist for the Pen Center USA Literary Award in poetry.  In 2008, he was honored with a Whiting Writers’ Award. He lives in the San Fernando Valley with his family and teaches courses in African American poetry, opera and myth at California Institute of the Arts. http://www.douglaskearney.com

Yuval Sharon –
Yuval Sharon’s directorial work has been described as “magical” (The Village Voice), “ingenious” (San Francisco Chronicle) and “a major event, where surprise sidesteps operatic convention” (Los Angeles Times).  He has worked both with international houses like the San Francisco Opera, the Mariinsky Theater, the Bregenzer Festspiele in Austria, and the Komische Oper Berlin, as well as experimental venues like Berkeley Opera, Le Poisson Rouge, and the Deitch Projects. He was Assistant Director to Achim Freyer on the Los Angeles Ring Cycle. Sharon was Project Director for four years of New York City Opera’s VOX, an annual workshop of new American opera, which became the most important crucible for new opera in the country under his direction.  Sharon will also be directing Jessye Norman, Meredith Monk, and Joan LaBarbara in John Cage’s Song Books this March as part of San Francisco Symphony’s Mavericks Festival, which includes a Carnegie Hall performance.  The Los Angeles Times also just named Sharon a “Face to Watch” in 2012. More information is at http://www.yuvalsharon.com.

Marc Lowenstein –
Marc Lowenstein conducted the world premieres of several new operas including The Mortal Thoughts of Lady Macbeth, Dice Thrown, WET, The Scarlet Letter, and The Peach Blossom Fan, as well as the American premieres of R. Murray Schaefer’s Loving and Georges Aperghis’ Sextuor.  For four years, he conducted with the New York City Opera’s new music festival VOX and conducted on the Monday Evening Concert Series, with Jacaranda, the California Ear Unit, the Vinny Golia Ensemble, the Kadima Conservatory, the CalArts New Century Players, and Ensemble Green.  He was the founder and music director of the Berkeley Contemporary Opera, a company that produced four seasons of contemporary operas.  As a singer, he specializes in contemporary music and has performed over twenty-five opera roles including the premiere of What to Wear by Michael Gordon and Richard Foreman and he recently sang the American premiere of Frank Denyer’s Out of the Shattered Shadows.  Lowenstein has written a full-length opera based on the screenplay of The Fisher King and is working on two others.  He has written several shorter chamber works as well. He occasionally moonlights as a professional whistler and amateur Klezmer clarinetist. He teaches theory, conducting, composition and history at California Institute of the Arts.

Laura Kay Swanson –
Laura Kay Swanson brings a wide range of experience to The Industry. A graduate of the MFA Producing Program at California Institute of the Arts, she produced Shakespeare’s Measure for Measure, Fassbinder’s The Bitter Tears of Petra von Kant and was musical director and assistant producer for Hellzapoppin’, a musical adaptation based on the 1941 film. She was the associate producer for the world premiere of the CalArts Center for New Performance production of Gertrude Stein’s Brewsie and Willie, winner of three 2011 LA Weekly Theater Awards.  She also produced and directed a music video of the aria, “Hymn to the Sun” from Akhnaten by Philip Glass, which premiered at REDCAT (Roy and Edna Disney/CalArts Theater) in 2011 as part of the CalArts Film/Video showcase. Other producing credits include Rain Coloring Forest at REDCAT, featuring Indonesian artist and choreographer Sardono Kusumo and lighting designer Jennifer Tipton, and The Mortal Thoughts of Lady Macbeth, a contemporary chamber opera by Veronika Krausas. Prior to becoming a producer, she was a professional opera singer and has performed at the Metropolitan Opera, Los Angeles Opera, REDCAT, Carnegie Hall, and New York City Opera.

The Industry –
Founded by Artistic Director Yuval Sharon and Producing Director Laura Kay Swanson, The Industry produces new interdisciplinary work that merges music, visual arts, and performance to expand the traditional definition of opera. The Industry is a recipient of the MAP Grant from The Doris Duke Foundation and Andrew W. Mellon Foundation.  http://theindustryla.org



Atwater Crossing –
Spanning five industrial buildings across two city blocks, Atwater Crossing houses an array of creative offices and studios, artisanal manufacturing facilities, locations for photography and film shoots, theaters showcasing original productions, LEED platinum loft homes and Atwater Crossing Kitchen, serving wood-fired, Mediterranean-inspired fare. Open for breakfast, lunch and dinner (atxkitchen.com).  Public programs, events, and workshops feed the evolving culture and community of ATX.  Learn more at http://www.atwatercrossing.com.



Links –
- Website – www.TheIndustryLA.org
- Facebook – http://www.facebook.com/pages/The-Industry/124606140952622
- Twitter – TheIndustry_LA
- YouTube – http://www.youtube.com/user/TheindustryArts
- Tickets - http://theindustryla.org/tickets/  (sales start 4/1/12)

For more information, images, or to request interviews, please contact Green Galactic’s Lynn Tejada at 213-840-1201 or lynn@greengalactic.com.

The Los Angeles artists creating new installation works for Crescent City are:
1) Olga Koumoundouros (photo credit: Robert Wedemeyer)
2) Katie Grinnan (photo credit: Robert Wedemeyer)
3) Jeff Kopp (photo credit: Fredrik Nilsen; courtesy of Redling Fine Art)
4) Alice Konitz (photo credit: Gene Ogami)
5) Mason Cooley (photo credit: Josh White)
6) Brianna Gorton (photo credit: Brendan Threadgill)
Please note: Works shown are representative of these artists’ sensibility, though not the actual Crescent City installations.

Save the Date: 

What:
The Industry presents World Premiere of
Crescent City, a hyperopera

Crescent City is a hyperopera by composer Anne LeBaron, widely recognized for her work in instrumental, electronic, and performance realms, and librettist Douglas Kearney, a poet, performer and recipient of the Whiting Writer’s Award. The opera, which incorporates installations by six contemporary LA-based artists, tells the epic story of a mythical city, decimated by one hurricane and on the verge of being wiped off the face of the earth by another, and the voodoo priestess determined to save it. A roving band of revelers spreads chaos throughout the streets of the city, capturing the action of the opera with live video along the way. www.TheIndustryLA.org

When:
Thu. May 10 – Sun. May 27, 2012
Thu. – Sun. for 3 Weeks

- Special Sneak-Peek Reading at the Annenberg Community Beach House - http://www.annenbergbeachhouse.com
- Mon. Feb. 6, 2012

- Performance – Gala Opening Night – Thu. May 10, 2012
- Art Gallery – Opening – Fri. May 11, 2012
- Performance – Closing Night – Sun. May 27, 2012

Where:
Atwater Crossing
3245 Casitas Ave.
Los Angeles, CA 90039
www.atwatercrossing.com

Who:
About The Industry –
Founded by Artistic Director Yuval Sharon and Producing Director Laura Kay Swanson, The Industry produces new interdisciplinary work that merges music, visual arts, and performance to expand the traditional definition of opera. The Industry has received support for Crescent City from The Doris Duke Foundation and the generosity of individual supporters.

Crescent City Credits –
Director – Yuval Sharon – www.yuvalsharon.com
Producer – Laura Kay Swanson
Associate Producer – Rachel Scandling
Music – Anne LeBaron – www.annelebaron.com
Libretto – Douglas Kearney – www.douglaskearney.com
Curator – Brianna Gorton – http://briannagorton.otherpeoplespixels.com/home.html

Visual Installation Artists –
Mason Cooley – http://masoncooley.blogspot.com
Brianna Gorton – http://briannagorton.otherpeoplespixels.com/home.html
Katie Grinnan – http://www.artnet.com/magazine/features/honigman/honigman8-4-04.asp
Alice Konitz – alicekonitz.com
Olga Koumoundouros – www.vielmetter.com/artists/olga-koumoundouros.html

Set Designer – Sibyl Wickersheimer – www.sawgirl.com
Lighting Designer – Elizabeth Harper – www.eharperdesign.com
Sound Designer – Martin Gimenez
Video Designer – Jason Thompson

Timur & the Dime Museum (photo credit: Sandra Powers)

Cast –
The cast of 18 includes:
Marie Laveau – Gwendolyn Brown – http://www.gwendolynbrown.com
The Good Man – Cedric Berry –  http://www.cedricberry.com/Cedric_Berry/Home.html
Deadly Belle – Timur Bekbosunov – www.theoperaoftimur.com
Homesick Woman – Lillian Sengpiehl – http://tinyurl.com/Robert-Gilder-L-Sengpiehl
Jesse – Anthony Faatolia – http://www.ashleyfaatoalia.com
The Nurses – Maria Elena Altany and Ji Young Yang

More About Crescent City:
Previously featured in workshop performances at New York City Opera’s VOX Festival of new American opera, this massive site-specific production, which audiences will experience in 360 degrees, will be realized in an industrial warehouse space with abstract sets by an extraordinary group of visual installation artists.  At the world premiere, each audience member will be seated in a section of the city – the Cemetery, Swamp, Hospital, Dive Bar, Good Man’s Shack or Junk Heap. They will be able to see and hear the action in every other part of the city through live video streams and sophisticated sound technology.

The production features a live orchestra comprised of The Dime Museum and includes such diverse instrumentation as laptop, chromelodeon, and didjeridu. LeBaron’s hybrid sound world encompasses electronica, bluegrass, jazz, and improvisation.

The installation will function as an art exhibition by day, which transforms into the performance space at night, providing viewers multiple opportunities to engage with the world of Crescent City. “I’m excited by the different ways audiences will be able to experience the work,” says director Yuval Sharon. “Letting imaginations run wild when the space is open during the day should increase people’s curiosity about how the opera plays out by night.”

With every purchase of a ticket to Crescent City, audiences will be provided with downloadable audio program notes and an insider’s guide to the production that is meant to be listened to on the way to the performance space.  These notes are meant to enhance the Crescent City experience and extend the production out into the world.

With a gala opening of the opera on Thursday, May 10, 2012 and gallery exhibition opening on Friday, May 11, 2012, Crescent City will run for three weeks, Thursdays through Sundays, closing on May 27, 2012.

Yuval Sharon –
Yuval Sharon’s directorial work has been described as “magical” (The Village Voice), “ingenious” (San Francisco Chronicle) and “a major event, where surprise sidesteps operatic convention” (Los Angeles Times). He has worked both with international houses like the San Francisco Opera, the Mariinsky Theater, the Bregenzer Festspiele in Austria, and the Komische Oper Berlin, as well as experimental venues like Berkeley Opera, Le Poisson Rouge, and the Deitch Projects. He was assistant director to Achim Freyer on the Los Angeles Ring Cycle. Sharon was Project Director for four years of New York City Opera’s VOX, an annual workshop of new American opera, which became the most important crucible for new opera in the country under his direction.  Sharon will also be directing Jessye Norman, Meredith Monk, and Joan LaBarbara in the John Cage Songbooks this March as part of San Francisco Symphony’s Mavericks Festival at Carnegie Hall.  More information is at http://www.yuvalsharon.com.

Ages –
For 12 and older

Tix –
TBD

Website – www.TheIndustryLA.org
Facebook - http://www.facebook.com/pages/The-Industry/124606140952622
Twitter - TheIndustry_LA
YouTube – http://www.youtube.com/user/TheindustryArts

Press Contact:
Green Galactic’s Lynn Tejada – 213-840-1201 – lynn@greengalactic.com

The Los Angeles artists creating new installation works for Crescent City are:
1) Olga Koumoundouros (photo credit: Robert Wedemeyer)
2) Katie Grinnan (photo credit: Robert Wedemeyer)
3) Liz Glynn (photo credit: Maryanne Williams)
4) Alice Konitz (photo credit: Gene Ogami)
5) Mason Cooley (photo credit: Josh White)
6) Brianna Gorton (photo credit: Brendan Threadgill)
Please note: Works shown are representative of these artists’ sensibility, though not the actual Crescent City installations. 

Bootleg Theater is excited to announce the brand new Ken Roht’s Same-O, A 99¢ Only Electric Ballad – once again bringing together the award-winning creative team of Roht, John Ballinger and Ann Closs-Farley for an outrageous holiday production. Previous 99¢ Only shows have been critically acclaimed as a “bedazzlement of theater action and peanut gallery voyeurism” (LA Times) and “mix of heady surrealism, marvelously inventive choreography, unabashed camp, and delightful whimsy” (Backstage West).  Costumes, sets and moving sculptures in this progressive multimedia music event will once again incorporate traditional 99¢ Only Store fare, with the addition of recycled and sustainable materials this year. The interdisciplinary extravaganza, with a cast of 18 diverse performers, runs from December 4 to 19, 2010 on Thursdays, Fridays, and Saturdays at 8:00pm nightly with Sunday matinees only at 3:00pm.  Performances have been extended, now running January 6 to 30, 2011 on the same schedule.

Ken Roht’s Same-O, A 99¢ Only Electric Ballad
(photo credit: Ashley West Leonard)

For Immediate Release:   November 5, 2010 [updated: 12/15/10]

Bootleg Theater Presents
A Brand New Music Theater Extravaganza
Ken Roht’s Same-O, A 99¢ Only Electric Ballad
Saturday, December 4 – Sunday, December 19, 2010

** NOW EXTENDED:  Thursday, January 6 – Sunday, January 30, 2011 **

LOS ANGELES, CA – Bootleg Theater is excited to announce the brand new Ken Roht’s Same-O, A 99¢ Only Electric Ballad – once again bringing together the award-winning creative team of Roht, John Ballinger and Ann Closs-Farley for an outrageous holiday production. Previous 99¢ Only shows have been critically acclaimed as a “bedazzlement of theater action and peanut gallery voyeurism” (LA Times) and “mix of heady surrealism, marvelously inventive choreography, unabashed camp, and delightful whimsy” (Backstage West).  Costumes, sets and moving sculptures in this progressive multimedia music event will once again incorporate traditional 99¢ Only Store fare, with the addition of recycled and sustainable materials this year. The interdisciplinary extravaganza, with a cast of 18 diverse performers, runs from December 4 to 19, 2010 on Thursdays, Fridays, and Saturdays at 8:00pm nightly with Sunday matinees only at 3:00pm.  Performances have been extended, now  running January 6 to 30, 2011 on the same schedule.  Doors open one hour before each show – audiences are welcome to arrive early for pre-show socializing over a beverage in Bootleg’s beer and wine bar.  General admission tickets are $25; students/seniors $18. Bootleg neighbors living in the 90057 zip code can purchase a ticket for 99¢ with proof of address (driver’s license, utility bill, etc.)  Bootleg Theater is located at 2220 Beverly Blvd., Los Angeles, CA 90057.  For more information please call 213-389-3856 or visit www.bootlegtheater.com.

Despite the name, Same-O is not the same-o same-o.  While this year’s whimsical spectacle still has the same type of wildly imaginative score, costumes and choreography as in years past, key differences include an overall tone that takes more chances conceptually by exploring the issue of graceful co-existence and costumes made from paper products.  “For years, the 99¢ Only shows have blithely glorified plastic and I thought we needed to do our part to promote ethical consumerism,” says Roht.

The 2010 production takes the audience on a hero’s journey with two very different young men, Eddie and Fred, who end up getting married.  While narrative elements such as this exist in the production, the work functions more as abstract art in the Surrealist tradition, or even as progressive dance theater, than traditional linear theater.  “Logic is not of paramount importance or even necessarily appreciated,” says Roht.

99¢ Only Show Timeline –
Ken Roht’s Same-O, A 99¢ Only Electric Ballad is the seventh in a series of unique 99¢ Only shows that have been entertaining Los Angeles audiences since 2002.  Each show in the series has been an original story of peace, love, struggle, and acceptance wrapped up in a singing and dancing 99¢ holiday bow.
2002 – Wonderama – Roht took his 99¢ Only Store obsession public for the first time with music, puppets, and spoken-word excerpts from corporate reports in celebration of the joy and excess of American consumerism
2003 – Splendor – the story of a Golden Boy who is abducted from the Frenchies, an enigmatic tribe of warrior-clowns, by the misunderstood misfits, the Crusties
2004 – Peace Squad Goes 99 – Peace Squad, the boy band, and their mothers save the 99¢ Only Village from the misguided Hollow Mirror Man and his molls
2005 – Route 99: Orange Star Dinner Show – set in a Wyoming dinner theater, Orange Star serves up hospitality, delicious home cookin’ and western glamour made from pool toys and plastic tablecloths
2006 – Pageant of the 4 Seasons, a 99¢ Only Modern Something – “a demented blend of low-budget Ziegfeld Follies, an earth-bound Cirque du Soleil, and the kind of performance neighborhood kids put on in somebody’s garage” (LA Weekly)
2008 – Ken Roht’s 99¢ Only Calendar Girl Competition – a meditation of sorts on beauty pageants, where the audience picks the winner

The 99¢ Only Stores deep discount retail chain has generously supported each show in the series with not only product donations but also gracious cooperation and enthusiasm since the beginning of the project.

Ken Roht’s Same-O, A 99¢ Only Electric Ballad
(photo credit: Ashley West Leonard)

Ken Roht’s Same-O, A 99¢ Only Electric Ballad Credits –
Producers: Alicia Adams, Corbett Barklie, and Jessica Hanna for Bootleg Theater
Writer/Director: Ken Roht
Choreographer: Ken Roht
Co-Composers: John Ballinger and Ken Roht
Music, Dance, and Vocal Arrangements: John Ballinger
Music Direction: John Ballinger
Costume Designer: Ann Closs-Farley
Asst. Costume Designer: Anne Hothem
Set Designer: David Offner
Technical Director: Jon Stoner
Lighting Designer: Brandon Baruch
Stage Manager: Alyssa Escalante
Video Designer: John Flynn
Visual Artists: Doron Gazit, Clare Graham, Wen Wen Hsu, Kiff Scholl, and Penny Young
Sound Designer:  Chet Leonard

Cast: Erin Anderson, Michael Bonnabel, Sissy Boyd, Tucker Bryan, Max Faugno, Stephen Heath, Spencer Kelly, Tracey A. Leigh, Julie Marie Lewis, Daniele Manzin, Lucie McGrane, John Charles Meyer, Lori Scarlett, Lake Sharp, Raul Staggs, Daniele Watts, Jonathan CK Williams, and Silvie Zamora

Ken Roht’s Same-O, A 99¢ Only Electric Ballad
(photo credit: Christy Borgman)

Ken Roht is a Los Angeles based music, theater and video artist.  In 2010, Roht directed and choreographed The Good Soldier Schweik for Long Beach Opera, choreographed American Night featuring Culture Clash at Oregon Shakespeare Festival; fulfilled a commission by Center Theater Group to create a new holiday show using Tschaikowsky’s score to The Nutcracker; directed his first musical feature film starring Kevin Richardson, of the Backstreet Boys; choreographed for Cornerstone Theater Company, as part of a community project in Pacoima; and he wrote a one-act opera in response to Prop 8, performed at Grand Performances, with a grant from Los Angeles Department of Cultural Affairs. He was recently awarded a Good Works Foundation grant for an upcoming musical project and will be choreographing for New York City Opera, at Lincoln Center, in the Spring 2011.  orpheancircus.com

John Ballinger, musician and award-winning sound designer/composer, has placed songs and scores in television, on film, in theater, and on CDs. Notable collaborations include Echo’s Hammer (Theatre at Boston Court) and the 99¢ Only Store holiday shows with Ken Roht, The Woman Who Forgot Her Sweater and Celebration of the Lizard with O-Lan Jones, The Joan Rivers Show (Geffen Playhouse), and playing the guitar with Christy (Chris Wells) and the NoNos. Ballinger has toured and/or recorded for Rufus Wainwright, Tracy Bonham, Pato Banton, Moira Smiley & Voco, and the national tour of Dancing with the Stars.

Ann Closs-Farley is the 2010 winner of the “Sherwood Award” presented by Center Theater Group of Los Angeles.  She teaches costume design for The Heart Project in conjunction with The LA Opera and spent the Fall in New York with the Pee Wee Herman “Live” at the Stephen Sondheim Theater on Broadway.  Her recent credits include: Disney’s Toy Story: The Musical, An Evening Without Monty Python, The Receptionist, Land of the Tigers, James and the Giant Peach, The Projectionist, Around The World in 80 Days, The Rendezvous, The Rover, Norman’s Ark, Winter Wonderettes, Evel Knievel: The Rock Opera, and Hamlet, Prince of Puddles. She earned a 2009 Ovation Award for Ken Roht’s Calendar Girl Competition, and LA Weekly and Garland awards for her work on: Batboy: The Musical, When Tigers Smoked Long Pipes, Echo’s Hammer, The Seagull, Exonerated, Mephisto, Euphoria, Plastica Fantastica, Broadway, XXX Love Act, Cinderella – Medea – Macbeth, and Ugly’s 1st World. She has also won an LADCC Award (Los Angeles Drama Critics Circle) for her work on Sneaux! and Gorey Stories: The Musical as well as a Local Hero Award from Backstage West.  She is a long-time member of the Actor’s Gang and Evidence Room theater companies.  She enjoys teaching recycled-fashion at local elementary and high schools, arts organizations, festivals and museums.  www.annclossfarley.com

Bootleg Theater is a space for art: a place where Los Angeles artists can come together and create new, exciting theatrical events.  Bootleg is dedicated to producing and presenting theater, music, dance, and film in the venue’s 10,000-square foot 1930s warehouse, located in the Rampart District just west of Downtown LA. The facility, comprised of two performance spaces and a lounge, plays an integral role in the development and advancement of Bootleg’s goals: to provide a community convening place; produce brave, boundary-pushing, artistically outstanding, and highly collaborative new work — work that is exciting to people of all ages and ethnicities; and serve as a reflection of the City we all call home.  Bootleg Theater offers special group rates for parties of 8 or more.

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For more information, photos, or to arrange an interview, please contact Green Galactic’s Lynn Tejada (née Hasty) at 213-840-1201 and lynn@greengalactic.com.

"War Machine" photo credit: Michael Tullberg

After seven years in development, non-profit organization Overtone Industries is set to launch their site-specific theatricale, Songs and Dances of Imaginary Lands, with three weekends of performances opening Thursday, July 8, 2010.  Billed as a contemporary opera, the large-scale, genre-bending production integrates an astounding array of innovative art installation, dance, voice, live and recorded music, projected video, costuming, community participation, and theater. Songs and Dances of Imaginary Lands was developed and cultivated by Director O-Lan Jones in an extensive guided collaboration that involves twenty one librettists, eleven composers, Costume and Scenic Designer Snezana Petrovic, Musical Director David O, Instrument Inventor Bart Hopkin, Choreographer Nina Winthrop, twenty performers, a nine-piece live orchestra, dozens of crew members, scores of community volunteers, and many others.

For Immediate Release:   June 25, 2010 (Updated July 15)

Overtone Industries Presents
An Art-Full New Contemporary Opera
Songs and Dances of Imaginary Lands
With Performances in a 25,000-Square-Foot Vacant Culver City Car Dealership
Thursday, July 8 – Sunday, July 25, 2010
With Preview Performances Thursday, July 1 – Sunday, July 4, 2010

LOS ANGELES, CA – After seven years in development, non-profit organization Overtone Industries is set to launch their site-specific theatricale, Songs and Dances of Imaginary Lands, with three weekends of performances opening Thursday, July 8, 2010.  Billed as a contemporary opera, the large-scale, genre-bending production integrates an astounding array of innovative art installation, dance, voice, live and recorded music, projected video, costuming, community participation, and theater. Songs and Dances of Imaginary Lands was developed and cultivated by Director O-Lan Jones in an extensive guided collaboration that involves twenty one librettists, eleven composers, Costume and Scenic Designer Snezana Petrovic, Musical Director David O, Instrument Inventor Bart Hopkin, Choreographer Nina Winthrop, twenty performers, a nine-piece live orchestra, dozens of crew members, scores of community volunteers, and many others. The interdisciplinary production will run from Thursday, July 8 to Sunday, July 25, 2010 with five weekly performances (Thursdays through Sundays, 8:00 p.m. nightly with 2:00 p.m. matinees on Sundays).  Additional preview performances will run the week prior, from Thursday, July 1 to Sunday, July 4, 2010 (matinee only on July 4).   Ticket prices range from $15 – $50 and can be purchased via Overtone’s site at www.overtoneindustries.org/sdtickets.php.  Performances are suitable for mature teen and adult audiences.  Shows will be held in a vacant 25,000-square foot car dealership that is being temporarily transformed into a performance space at 8810 Washington Blvd., Culver City, CA 90232.  Parking lot on site.

The Story of Songs & Dances-
Songs and Dances of Imaginary Lands is a contemporary opera that follows Tom and Sue, a couple from different class backgrounds, who have lost their identities.  The couple reclaims their stories by visiting imaginary lands that embody the pivotal experiences of their lives.  They discover themselves anew through the songs, dances, pledges of allegiance, and rituals indigenous to those turning points. The fast-paced kaleidoscope of events range in tone from comic to deeply sorrowful.  Songs and Dances of Imaginary Lands is an allegory where the various elements — the sets, costumes, characters, music, audience participation, and modes of collaboration across the production — create the world of challenges and gifts presented by life, love, and relationships.

The Art of Songs & Dances-
Under the direction of Costume and Scenic Designer Snezana Petrovic, the Company has transformed a vacant Culver City car dealership into a surreal performance space featuring a staggering number of colorful, site-specific art installations of the production’s titular imaginary lands, each dramatically different from one another.  An extensive community arts project brought together local artists and volunteers to create textures, props, and various aspects of the sets and costumes for the production.  These eclectic sets and costumes were created primarily from reclaimed and recycled materials that were donated and transformed through community participation.   The design team, with the aid of a small army of volunteers, spindled newspaper and knitted plastic bags into art — essentially turning trash into gold.

“There is something about using simple materials that allows the artistic idea to shine through even more,” says Director O-Lan Jones.

Inventor Gregg Emmel was commissioned to create special “audience transportation” in the form of trains.  Each scene of the production takes place on a separate stage in the performance space requiring the audience to shuffle from set to set to see the action. Some audience members will have to drag their chairs around, while others will be transported in style via train (either luxury or standard) — the different modes of transportation are assigned according to the price of their ticket (a class hierarchy system!).  Some audience members will be upgraded each night based on a lottery system.

The Music of Songs & Dances-
Twenty one librettists and eleven composers have contributed original words and music specifically written for Songs and Dances of Imaginary Lands that collectively create an odyssey.  The compositions span a range of musical styles from avant-garde classical to Eastern Bloc men’s choir, from island to rock.  Each captures the character of the imaginary land, or life moment, that it represents.

Twenty eight songs are included in the production, incorporating electronic, traditional acoustic, and invented instruments in the unhomogenized array of recorded and live music performed by an orchestra under the direction of award-winning composer David O.  The live nine-piece orchestra features keyboards, violin, cello, upright and electric bass, electric and acoustic guitar, drums, percussion, clarinet, baritone sax, and instruments made by Bart Hopkin from found materials (slide whistle, lyre, hurdy gurdy, metal signaler, k-scraper, stone pour, +).  To get a taste of this eclectic musical feast, please sample the following Mp3 excerpts from the production recorded during a recent rehearsal:

“Land Before Language” [0:43] – Music by David O
www.overtoneindustries.org/files/EXCERPT-The-Land-Before-Language-SD2010.mp3

“Tassos” [0:44] – Music by Eric Culver, Words by Ruth Margraff
www.overtoneindustries.org/files/EXCERPT-Tassos-Part-1-SD2010.mp3

“Stones Dance” [0:34] – Music by  Bart Hopkin, Words by Leon Martel
www.overtoneindustries.org/files/EXCERPT-Stones-Dance-SD2010.mp3

“Land of People Humbler Than Thou” [0:56] – Music and Words by O-Lan Jones
www.overtoneindustries.org/files/EXCERPT-The-Land-Of-People-Humbler-Than-Thou-SD2010.mp3

Additional details on these music selections, including names of the singers on each track, can be found in the Songs & Dances online media kit at www.overtoneindustries.org/sdmediakit.php.

Overtone Industries has received support from The Ahmanson Foundation, The Annenberg Foundation, Los Angeles County Arts Commission, Los Angeles Department of Cultural Affairs, and The National Endowment for the Arts.  Additionally, real estate developer Joseph Miller, owner and president of The Runyon Group, donated the use of the vacant Culver City car dealership for the production. Miller provided the space to Overtone Industries so that it could be used creatively, in a way that would benefit the community, instead of standing vacant before he renovates it for commercial use.

Says Director O-Lan Jones, “The extensive collaboration on the project is a metaphor for the existential point of the opera — in other words, we all make the world that we live in together.”

O-Lan Jones, Director and Choreographer of the “Indigenous” Dances-
O-Lan Jones is an award-winning actress, composer, sound designer, and writer. Her work as an actress, originating female roles in plays by Sam Shepard, Beth Henley, Murray Mednick, and John Steppling, among others, has made her something of a cultural icon. Named for the character in Pearl Buck’s The Good Earth, Jones was raised by a free-spirited mother in various ghettos across America (Los Angeles, Chicago, Austin, New York) with stops in London and the jungles of the Yucatan where they lived in a hut in a village of 80 Mayan Indians. She began her professional acting career at 16 in New York’s off-off Broadway scene in the late ’60s and early ’70s. In 1969, Jones married playwright Sam Shepard with whom she has a son. Shepard and Jones divorced in 1983.

Of the more than 80 plays she has acted in, only two have been performed prior to her involvement in them — part of her lot in life is as accomplice to new/experimental projects. Since moving to Los Angeles in 1990, she has had a broad range of roles in film and television. In features, she has worked with directors Tim Burton, Jonathan Demme, Ivan Reitman, Paul Schrader, John Schlesinger, Oliver Stone, Peter Weir, and Paul Bartel who directed Shelf Life, a movie she wrote and starred in. She is perhaps best known for playing Esmeralda, the reclusive Christian organist in Edward Scissorhands, and numerous waitress roles (Seinfeld, Shoot the Moon, Miracle Mile, Natural Born Killers, and The Truman Show). A repeat member of Burton’s ensemble casts, she also played hick trailer-dwelling mama Sue Ann Norris in Mars Attacks! Television credits also include Lonesome Dove and The X-Files; and she was a series regular on CBS’s Harts of the West.

She has composed three short operas; five musicals; created original music, songs, and sound designs for more than 30 theatrical productions; and has scored two short films. She was also the musical director and arranger of Joel Lipman’s rock-’n'-roll extravaganza Celebration of the Lizard, which features 49 Doors songs. Jones is also the Founder and Artistic Director of Overtone Industries, which the Los Angeles Times called “… audaciously experimental entertainment.”

Snezana Petrovic, Costume and Scenic Designer-
A freelance designer for 230 theatrical productions, 22 television series, and eight feature films, Snezana Petrovic is a pioneer in set design using computer-aided technology and she was the first art director to design sets on the FLAIR computer in her native Yugoslavia. In the US, she was the first graduate student in theater design to earn an interactive MFA (from UC Irvine), submitting her thesis on CD-ROM. She has served as resident designer at the Redlands Theater Festival for 15 seasons, and taught theater design and visual arts at the university level for 14 years. She was the recipient of the award in production design at the International Film Festival in Pula as well as six national awards for theater set and costume design in Yugoslavia. Petrovic’s paintings, video, and installation works have been exhibited both nationally and internationally in museums and galleries in Los Angeles, Amsterdam, Belgrade, and Prague. She has exhibited in 34 group exhibitions and had eight solo exhibitions. Currently she is serving as the Fine Arts Department Chair and Professor of Arts at Crafton Hills College.

David O, Musical Director-
David O is an award-winning composer, performer, and musical director.  His work has been featured at Walt Disney Concert Hall, The Kennedy Center, The Mark Taper Forum, and the Hollywood Bowl, as well as other venues in Los Angeles and around the world.  His choral composition, A Map of Los Angeles, was commissioned by the LA Master Chorale with performances at Walt Disney Concert Hall in 2008 and 2009.  Thousands of Los Angeles children and their parents know David as “The Professor” for his six years of performances with Summersounds at the Hollywood Bowl, produced by the Los Angeles Philharmonic.  His original musicals include The Very Persistent Gappers of Frip and The Legend of Alex, both commissioned by Center Theatre Group’s P.L.A.Y. Program, and Imagine, commissioned by South Coast Repertory Theater. The Very Persistent Gappers of  Frip was performed as part of the inaugural season of the Kirk Douglas Theater.

David is the musical director, arranger, and co-composer for Disney Creative Entertainment’s new production, Toy Story: The Musical, which will open at Disney California Adventure in 2011.  Some of David’s most unique work includes non-traditional theater pieces for which he served as both musical director and composer.  Most notably, he created an entirely a capella score for Hippolytos, a new translation of Euripides’ tragedy commissioned to inaugurate the Fleischman Theater at the newly-refurbished Getty Villa in Malibu.  In addition, David was the composer, musical director, and on-stage pianist/percussionist for A Noise Within’s production of Ubu Roi, for which he received the 2006 Ovation Award for Sound Design in a Large Theater.

David has musically directed countless musical theater productions in the Los Angeles area, including the world premiere of 13, the new musical by Jason Robert Brown.  He has also served as musical director for the West Coast premieres of Michael John LaChiusa’s The Wild Party and Little Fish.  Other notable productions as Musical Director include The Last 5 Years (Pasadena Playhouse), The Shaggs: Philosophy of the World (Inside the Ford), and Divorce: the Musical (Hudson Mainstage).

Gregg Emmel, Transportation Designer-
For 25 years, Gregg Emmel has been a material guy — a product designer, engineer, artist, entrepreneur, and performer.  Emmel holds over 45 patents in diverse fields, while garnering attention from Interiors Magazine, Home and Gardens, and the Discovery Channel. He is the founder and principal inventor for Cryoport Inc.  In 1987, he also founded Egg, an industrial design incubator facilitating entrepreneurial projects and intellectual property.  In addition to his technical and commercial work, Emmel’s art, sculptures and performances have been featured at Beyond Baroque Literary Arts Center, the Austin International Poetry Festival, Coachella Arts Festival, and Burning Man.  As the Founder and Director of the Solids Gallery, a sculpture collective, he has shown throughout the Los Angeles area. Emmel’s latest endeavor is The Guilds Studios, a professional collective of artists and creators.

Nina Winthrop, Choreographer of the Traveling Lands-
Nina Winthrop formed her company, Nina Winthrop and Dancers, in 1991 and her work has been presented at numerous venues including Brooklyn Academy of Music, Danspace Project, Joyce SoHo, The Flea Theater and Movement Research at The Judson Church. She was awarded a Bessie Schönberg Choreographers’ Residency at The Yard in 2004, a Dancenow/NYC’s Silo Artist Residency in 2005, and participated in the Schönberg Choreographers Lab at DTW in 2005. Winthrop is the curator of the monthly performance and discussion series Dance Conversations @ The Flea and is on the board of Danspace Project and New Dance Alliance. She has danced with Wendy Perron, Susan Rethorst, Yoshiko Chuma, Sally Silvers, and Kei Takei. She studied with Erick Hawkins, Merce Cunningham, and Deborah Hay.

Librettists-
Sissy Boyd, Joe Chaikin, Chiwan Choi, Kathleen Cramer, Erik Ehn, Gilbert Girion, Deb Gwinn, Julie Hébert, O-Lan Jones, Merle Kessler, Quincy Long, Lynn Manning, Ruth Margraff, Leon Martell, Marlane Meyer, Ken Roht, Octavio Solis, John Steppling, Caridad Svich, Sharon Yablon, and Guy Zimmerman.

Composers-
John Ballinger, J. Raoul Brody, Eric Culver, Beth Custer, Jeff Fairbanks, Bart Hopkin, O-Lan Jones, Penka Kouneva, Richard Mariott, David O, and George Sarah.

Overtone Industries-
Emmy and Dramalogue award-winning Overtone Industries cultivates new talent for music theater by providing opportunities for composers, writers, and performers to collaborate in the creation of new musical works. By drawing on artists that spring from the diverse community, Overtone productions speak to and attract a wide-ranging spectrum of people. Overtone believes that culture is enriched and revitalized not only by the differences and variety of expression, but also by the underlying experiences that connect us all. The organization strives to create myths and fables that will illuminate the eternal forces that reverberate in our contemporary lives. By exploring new relationships among words, acting, movement, and music, the nonprofit seeks to make the invisible visible and bring audiences, casts, production crews, and ourselves closer to understanding some of life’s mysteries. Overtone Industries’ work has been performed in San Francisco, Los Angeles, and in New York at the Kurt Weill Recital Hall in Carnegie Hall.

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For more information, photos, or to arrange an interview, please contact Green Galactic’s Lynn Hasty at 213.840.1201 and lynn@greengalactic.com