hey! This just popped into my head as a way to incorporate the "murder" aspect into the piece.
maybe everyone lies down during the concluding section (maybe during the second version of the unison phrase?), not necessarily at the same time, but in the same general expanse of time (a minute?) and gets their body traced in chalk on the floor by another partygoer. they then get up and continue their business -- put on their coat, etc. maybe this body tracing is a way of transitioning from party mode into getting ready to leave? the memory of the person rermains...they were there, at this moment, on this night...but now, theyre gone. it's over.
at the end of the piece, everyone is gone from the stage, and only chalk outlines of their bodies remain.
Saturday, February 24, 2007
Friday, February 23, 2007
structural outline cont'd
hey girls. great to meet last night. so here's what we came up with:
i can't figure out how to edit a post that I didn't write ( can we even do that?), so i'll just talk a little bit about the few changes we made last night to the first half of the piece.
*AUDIO IN TRIO -- during the Trio, instead of music we will go back to overhearing conversations of various partygoers. These can be anything, although it might be cool to somehow make it clear that these conversations are occurring contemporaneously with the dance. An argument -- "Why are you doing this HERE? Just please, please don't embarrass me"; hosts worrying about place cards, who should sit next to who, etc. They should be strained and awkward, expressing the underlying tensions of the night, the places where people are not connected, whether because they are estranged or simply strangers. The places where there is no conversation will be filled with silence, breath, and body sounds.
This will end abruptly, and we will mark the change with MUSIC being put on the stereo and the overheard conversations will stop. This will be a really nice transition into the "get together" section (trying to sit down).
*"GET TOGETHER" -- STRUCTURED IMPROV: The "get together" part can consist of structured improv -- dancers will have a few different options for "business" to do during this 2 minute (or less, i dont know how long things are) section: get up, walk off, sit down, go under the table, try to get someone else to go offstage with you, make a call on cell phone, shake out your napkin and lay it onyour lap, or someone elses lap...hahaha...etc.
* wow i just got a really funny idea for the "FINALLY' section. ok: so everyone finally sits down at the table. everyone has a napkin and, say, a glass of wine (this doesnt need to be real wine...it could be grape juice.) There is silence for a few moments, and then everyone picks of their glasses at the same time and CHUGS their glass of wine. when we are done, we wipe our moths with our sleeves and get up, slide out, whatever. I think that would really express the desire that people have to take the edge off during these kinds of interactions ,and also the desire to be occupied, to not look like they are just standing (or sitting) there, but that they are engaged with something. would that be funny? i think it would get a long laugh, and be totally appropriate.
ANYWAY!!!!!
* "BREAK" FROM "FINALLY" -- NEED TO EXPERIMENT! The "Finally" section (where everyone is finally at the table) is the same...but the "break" from it can be abrupt OR slow...we will have to see what works. One idea for a slow "break" is someone at the head of the table (it would probably be cool to see this in profile) sloowwwllyy pushes away from the table with their feet, causing everyone to melt out of their chairs in a different way, or maybe it gets fast then, or....the possibilities are endless. We've already had a "snap out of it" moment when the Trio ends, so maybe something more slow and/or complex would fit better here. Again, we should try out several possibilities.
Okay, onto the new stuff!
(continuing with Melina's numbering of events)
8. OUTSIDER SOLO : a solo would act as a really nice contrast to all of the social interaction that has been going on up until this point. Things to think about: who is this person? Why is it important to see them alone -- what makes them special?
*Lamenting a lost love that is at the party with another person?
*Socially awkward and self depricating?
*ANXIETY
During this solo, i think it might be nice to have the person be pretty much alone. It also might be cool to have people walking on and off intermittently, paying no attention to the person dancing. This is different than the LOVE duet, where people are onstage sometimes and are noticing the lovebirds. The SOLO dancer's plight can be heightened and made stronger by seeing people walk by and not pay any notice -- they are laughing, chatting, whatever. The soloist is troubled. It's gonna be great.
9. (This can be switched with 8) SOME OTHER SMALL GROUP: another type of social interaction, maybe with a larger group (4 or 5? or not). Think about what types of relationships you would like to see manifested on the stage. Work friends? Ex-lovers? family? kids, teens? endless possibilities.
THEN......
!!!!!TWISTER!!!!!
10. ok, we are playing twister. It will start as a real live, straight up twister game, with someone calling out and a bunch of people playing. Maybe not everyone, maybe some people standing around, watching, adding commentary. This interaction should showcase different types of comepetetive personalities; for example, the overly anal person calling out "right foot red" and trying to keep control...some are more casual about it than others. There are always those couple people that just want to play twister for the physical contact, there are those that want to showcase their twister-skill, etc. The twister game will last a couple (few?) minutes, slowwly degrading from a real, pedestrian game into something flowy, abstract, and full of contact. we should try to use the spinner and the twister dots as much as possible even in this degradation stage. Maybe the spinner person can keep spinning, but stop calling out, and the players just sort of all melt together and it evolves into this very sensual blob. a sensual blob. thats nice imagery.
We get out of this somehow. By melting out of it? E-z bake ding? someone brings over a cake? again, we have to thin kabout whether it should be a slow "break", or something abrupt. I have confidence that the appropriate transition will make itself apparent when we're moving.
11. UNISION PHRASE REPRISE: The unision phrase from the "start" of the party will come back, and again will reflect the current state of the evening. It will contain variations of the phrase (individuals will go off on their own phrase-tangents, but I also think that the phrase as a whole should change, should become more relaxed, bigger, more dancey etc.) People can try to dance with each other, fall over, forget that theyre supposed to be dancing, get really into it and do headrolls and stuff (haha). The wine has gotten into the partygoers, and it is noticeable.
12. TRIO RECONNECTS: The trio will encounter each other again, but they will reject the bond that they formed previously. They acknowledge that they shared a moment, but that moment is over. They are no longer willing to get personal, and regard each other ultimately as strangers, albeit with some hidden secrets. There should be a couple of other "wrap-up" interactions here: how have things changed through the course of the night? Is the "LOVE" couple in a fight now? Have things stayed the same? This section can be compared to the "morning" after the anniversary party...everyone is sheepish, sober, somber, and there is a sort of collective "walk of shame."
13. GOODBYE: during this confluding section, it might be really cool to have the conversations from the ARRIVAL section playing. The audience will perceive them in a different way, in light of all that has transpired over the course of the night. I think it would really bring the piece full circle. Again, this is not a mass exodus, but people trickle out, some help clean, some crash on the floor/table, under it, etc. It ends with overheard conversations, a fading light....wow i just got chills!!!
PLEASE VETO, REJECT, ADJUST, REVISE, AND ADD!
i can't figure out how to edit a post that I didn't write ( can we even do that?), so i'll just talk a little bit about the few changes we made last night to the first half of the piece.
*AUDIO IN TRIO -- during the Trio, instead of music we will go back to overhearing conversations of various partygoers. These can be anything, although it might be cool to somehow make it clear that these conversations are occurring contemporaneously with the dance. An argument -- "Why are you doing this HERE? Just please, please don't embarrass me"; hosts worrying about place cards, who should sit next to who, etc. They should be strained and awkward, expressing the underlying tensions of the night, the places where people are not connected, whether because they are estranged or simply strangers. The places where there is no conversation will be filled with silence, breath, and body sounds.
This will end abruptly, and we will mark the change with MUSIC being put on the stereo and the overheard conversations will stop. This will be a really nice transition into the "get together" section (trying to sit down).
*"GET TOGETHER" -- STRUCTURED IMPROV: The "get together" part can consist of structured improv -- dancers will have a few different options for "business" to do during this 2 minute (or less, i dont know how long things are) section: get up, walk off, sit down, go under the table, try to get someone else to go offstage with you, make a call on cell phone, shake out your napkin and lay it onyour lap, or someone elses lap...hahaha...etc.
* wow i just got a really funny idea for the "FINALLY' section. ok: so everyone finally sits down at the table. everyone has a napkin and, say, a glass of wine (this doesnt need to be real wine...it could be grape juice.) There is silence for a few moments, and then everyone picks of their glasses at the same time and CHUGS their glass of wine. when we are done, we wipe our moths with our sleeves and get up, slide out, whatever. I think that would really express the desire that people have to take the edge off during these kinds of interactions ,and also the desire to be occupied, to not look like they are just standing (or sitting) there, but that they are engaged with something. would that be funny? i think it would get a long laugh, and be totally appropriate.
ANYWAY!!!!!
* "BREAK" FROM "FINALLY" -- NEED TO EXPERIMENT! The "Finally" section (where everyone is finally at the table) is the same...but the "break" from it can be abrupt OR slow...we will have to see what works. One idea for a slow "break" is someone at the head of the table (it would probably be cool to see this in profile) sloowwwllyy pushes away from the table with their feet, causing everyone to melt out of their chairs in a different way, or maybe it gets fast then, or....the possibilities are endless. We've already had a "snap out of it" moment when the Trio ends, so maybe something more slow and/or complex would fit better here. Again, we should try out several possibilities.
Okay, onto the new stuff!
(continuing with Melina's numbering of events)
8. OUTSIDER SOLO : a solo would act as a really nice contrast to all of the social interaction that has been going on up until this point. Things to think about: who is this person? Why is it important to see them alone -- what makes them special?
*Lamenting a lost love that is at the party with another person?
*Socially awkward and self depricating?
*ANXIETY
During this solo, i think it might be nice to have the person be pretty much alone. It also might be cool to have people walking on and off intermittently, paying no attention to the person dancing. This is different than the LOVE duet, where people are onstage sometimes and are noticing the lovebirds. The SOLO dancer's plight can be heightened and made stronger by seeing people walk by and not pay any notice -- they are laughing, chatting, whatever. The soloist is troubled. It's gonna be great.
9. (This can be switched with 8) SOME OTHER SMALL GROUP: another type of social interaction, maybe with a larger group (4 or 5? or not). Think about what types of relationships you would like to see manifested on the stage. Work friends? Ex-lovers? family? kids, teens? endless possibilities.
THEN......
!!!!!TWISTER!!!!!
10. ok, we are playing twister. It will start as a real live, straight up twister game, with someone calling out and a bunch of people playing. Maybe not everyone, maybe some people standing around, watching, adding commentary. This interaction should showcase different types of comepetetive personalities; for example, the overly anal person calling out "right foot red" and trying to keep control...some are more casual about it than others. There are always those couple people that just want to play twister for the physical contact, there are those that want to showcase their twister-skill, etc. The twister game will last a couple (few?) minutes, slowwly degrading from a real, pedestrian game into something flowy, abstract, and full of contact. we should try to use the spinner and the twister dots as much as possible even in this degradation stage. Maybe the spinner person can keep spinning, but stop calling out, and the players just sort of all melt together and it evolves into this very sensual blob. a sensual blob. thats nice imagery.
We get out of this somehow. By melting out of it? E-z bake ding? someone brings over a cake? again, we have to thin kabout whether it should be a slow "break", or something abrupt. I have confidence that the appropriate transition will make itself apparent when we're moving.
11. UNISION PHRASE REPRISE: The unision phrase from the "start" of the party will come back, and again will reflect the current state of the evening. It will contain variations of the phrase (individuals will go off on their own phrase-tangents, but I also think that the phrase as a whole should change, should become more relaxed, bigger, more dancey etc.) People can try to dance with each other, fall over, forget that theyre supposed to be dancing, get really into it and do headrolls and stuff (haha). The wine has gotten into the partygoers, and it is noticeable.
12. TRIO RECONNECTS: The trio will encounter each other again, but they will reject the bond that they formed previously. They acknowledge that they shared a moment, but that moment is over. They are no longer willing to get personal, and regard each other ultimately as strangers, albeit with some hidden secrets. There should be a couple of other "wrap-up" interactions here: how have things changed through the course of the night? Is the "LOVE" couple in a fight now? Have things stayed the same? This section can be compared to the "morning" after the anniversary party...everyone is sheepish, sober, somber, and there is a sort of collective "walk of shame."
13. GOODBYE: during this confluding section, it might be really cool to have the conversations from the ARRIVAL section playing. The audience will perceive them in a different way, in light of all that has transpired over the course of the night. I think it would really bring the piece full circle. Again, this is not a mass exodus, but people trickle out, some help clean, some crash on the floor/table, under it, etc. It ends with overheard conversations, a fading light....wow i just got chills!!!
PLEASE VETO, REJECT, ADJUST, REVISE, AND ADD!
Wednesday, February 21, 2007
Sunday Recap
Sorry it took me a while to get to this... work was busy this week. Crazy!
So to recap: Katie and I met on Sunday at my place and looked at some videos, the blog, and listened to the MMDP Mix 2. We also talked a lot and came up with some cool ideas (we think) and decided to start outlining the piece. Here is the basic stuff we worked on... please edit it if I missed anything. And feel free to comment, veto, add, etc. Oh, and we also estimated how long we think each part will take but this is purely hypothetical and now that I'm looking at the numbers I'm not even sure it all makes sense.
Anyway...
1- Setting Up: 5 min.
One or two people setting up for the party (literally bringing in stuff for the set, etc.) Audio: pre-recorded conversations of guests coming to the party.
2- Arrival: 2 min.
Guests start to trickle in until all of a sudden it looks crowded. The first few can help finish setting up. Someone goes over to the sound system and turns the music on. People start moving/dancing (not social but more abstract). Use that movement to move into a structured phrase done in unison.
3- Unison Phrase: 2 min.
This phrase will be repeated later in the piece in different ways. In this case it will be in unison and very "clean". It breaks the ice and signifies the Start of this evening.
4- Love Duet: 3 min.
EasyBake dings at end of unison phrase and this breaks up the dance. The young lovers transition into their duet (which is very dancy, cheesy, attention grabbing, and big). Everyone else is doing a structured improv (choices: eat, drink, leave, or mingle?) Their dance is more gestural--but not sign-languagey--and maybe more pedestrian than the couple.
5- Trio: 5 min.
During the duet people gradually leave the stage, including the young lovers, and eventually only 3 people are left onstage though they are not interacting. The notice each other and its awkward (like in the Anniversary Party when Parker Posey gets left all alone in the house). This trio is about people learning how to interact with each other, forming relationships, and being honest. By then end they have all bared themselves to each other, maybe there is some weird tension/attraction, clearly they have all been a part of something very honest/personal. Tension is high when it ends with an interruption. Maybe an EasyBake ding? or Maybe someone else walks in on them.
6- Attempt to Sit: 1.5 min.
This is fast and hectic. Trying to get everyone to set down to dinner. Some people are trying to take control, others are not so much into it. They are never all at the table together. Chases, under-the-table stuff, couples trying to sneak off, etc. Things have started to fall apart and this is an attempt to do what they are "here to do".
7- Together: 30 seconds?
Finally everyone is together at the table but it is very quiet and awkward. Everyone is just kind of looking at each other not sure what to do. Very intense. Eventually someone leaves abruptly. (maybe leaves the party altogether, maybe to answer cell, maybe answers phone at the table "yeah. I was just leaving.", maybe gets up and goes w/o any reason)
That is as far as we got. Still to come: (1) a few more "relationship dances" including a dance that is clearly happening in another room while the rest of the party is going on. They won't necessarily be couples, but they are dances that do not involve everyone at the party. Ideas for this????
(2) Twister!! Someone brings out the game in an attempt to get the party back on track (like charades in the A.P.) spinner is very serious about it, turns into people just having fun?
(3) Return of the unison phrase but now as a looser dance, maybe not in unison. Possibly more soloey.
(4) Alcohol/drugs dance? later in the night? more social?
Also we don't know how it ends yet. And I feel like I must have forgotten a lot.
Please fill in the gaps!!
So to recap: Katie and I met on Sunday at my place and looked at some videos, the blog, and listened to the MMDP Mix 2. We also talked a lot and came up with some cool ideas (we think) and decided to start outlining the piece. Here is the basic stuff we worked on... please edit it if I missed anything. And feel free to comment, veto, add, etc. Oh, and we also estimated how long we think each part will take but this is purely hypothetical and now that I'm looking at the numbers I'm not even sure it all makes sense.
Anyway...
1- Setting Up: 5 min.
One or two people setting up for the party (literally bringing in stuff for the set, etc.) Audio: pre-recorded conversations of guests coming to the party.
2- Arrival: 2 min.
Guests start to trickle in until all of a sudden it looks crowded. The first few can help finish setting up. Someone goes over to the sound system and turns the music on. People start moving/dancing (not social but more abstract). Use that movement to move into a structured phrase done in unison.
3- Unison Phrase: 2 min.
This phrase will be repeated later in the piece in different ways. In this case it will be in unison and very "clean". It breaks the ice and signifies the Start of this evening.
4- Love Duet: 3 min.
EasyBake dings at end of unison phrase and this breaks up the dance. The young lovers transition into their duet (which is very dancy, cheesy, attention grabbing, and big). Everyone else is doing a structured improv (choices: eat, drink, leave, or mingle?) Their dance is more gestural--but not sign-languagey--and maybe more pedestrian than the couple.
5- Trio: 5 min.
During the duet people gradually leave the stage, including the young lovers, and eventually only 3 people are left onstage though they are not interacting. The notice each other and its awkward (like in the Anniversary Party when Parker Posey gets left all alone in the house). This trio is about people learning how to interact with each other, forming relationships, and being honest. By then end they have all bared themselves to each other, maybe there is some weird tension/attraction, clearly they have all been a part of something very honest/personal. Tension is high when it ends with an interruption. Maybe an EasyBake ding? or Maybe someone else walks in on them.
6- Attempt to Sit: 1.5 min.
This is fast and hectic. Trying to get everyone to set down to dinner. Some people are trying to take control, others are not so much into it. They are never all at the table together. Chases, under-the-table stuff, couples trying to sneak off, etc. Things have started to fall apart and this is an attempt to do what they are "here to do".
7- Together: 30 seconds?
Finally everyone is together at the table but it is very quiet and awkward. Everyone is just kind of looking at each other not sure what to do. Very intense. Eventually someone leaves abruptly. (maybe leaves the party altogether, maybe to answer cell, maybe answers phone at the table "yeah. I was just leaving.", maybe gets up and goes w/o any reason)
That is as far as we got. Still to come: (1) a few more "relationship dances" including a dance that is clearly happening in another room while the rest of the party is going on. They won't necessarily be couples, but they are dances that do not involve everyone at the party. Ideas for this????
(2) Twister!! Someone brings out the game in an attempt to get the party back on track (like charades in the A.P.) spinner is very serious about it, turns into people just having fun?
(3) Return of the unison phrase but now as a looser dance, maybe not in unison. Possibly more soloey.
(4) Alcohol/drugs dance? later in the night? more social?
Also we don't know how it ends yet. And I feel like I must have forgotten a lot.
Please fill in the gaps!!
Monday, February 12, 2007
Quote
This is a quote from a recent dance review in the NYTimes that I thought was relevant. Maybe also kind of obvious, but good to keep in mind.
"Live performance doesn't have to be lively or full of action or emotionally layered. It doesn't have to be anything in particular. But it must, in its own fashion, contain enough of an authentic world — any world — to keep those watching it from receding into their own worlds, where an endless supply of mundane distractions awaits."
I think that things like the Easybake Oven, controlling the music, etc. that we talked about are good ways to make the performance seem real. We have to be careful not to just remind people of 'that party last year where that thing happened' and keep them engaged in what is happening onstage.
I'm sure we'll get to all this eventually.
"Live performance doesn't have to be lively or full of action or emotionally layered. It doesn't have to be anything in particular. But it must, in its own fashion, contain enough of an authentic world — any world — to keep those watching it from receding into their own worlds, where an endless supply of mundane distractions awaits."
I think that things like the Easybake Oven, controlling the music, etc. that we talked about are good ways to make the performance seem real. We have to be careful not to just remind people of 'that party last year where that thing happened' and keep them engaged in what is happening onstage.
I'm sure we'll get to all this eventually.
Pointing fingers
One thing that came up in The Anniversary Party last night that I forgot to mention was how people often judge each other over the things they themselves are insecure about. The two mothers talking about breastfeeding is one example, but it happens to different degrees and in many different scenarios.
Going along with that is the issue of placing the blame and pointing fingers. And also gossiping, back-stabbing, excluding ppl from a group, etc.
Just stuff to think about...
Going along with that is the issue of placing the blame and pointing fingers. And also gossiping, back-stabbing, excluding ppl from a group, etc.
Just stuff to think about...
Sunday, February 11, 2007
some hammy inspiration: let's themify!
hahaha!
lots of juicy stuff here.
I like the image of the outlined body. It could be part of the set in an abstract way, by playing on the murder mystery theme but not really talking or giving any answer if and when a murder happened.
http://www.invitationtomurder.com/classicdiningmoments.htm
MUSIC/AUDIO
I've been thinking a lot about music--it can add so much to the sentiment of a section: sadness, confusion, cohesion, or the exact opposite. I'm going to be jotting down the name and artist of everysong I come across that inspires me with regard to this piece.
Jens Lekman: Maple Leaves
This song is about a guy who is totally in love with the girl he's singing to, but keeps misinterpreting everything she says and thinks. The hook of the song is "You said we were just make-believe.....but I thought you said maple leaves." I'll bring a mix cd tonight with other stuff I can't remember.
I think this song has a really special sentiment, one I would like to see expressed in the piece, and that I think watching "the anniversary party" will reinforce. Strong emotions, misdirected, the ways in which people will never understand each other, and the ways they all try to cover it up.
small talk, empty conversation, knowing looks, totally misfired knowing looks; long, deep, sordid, craggy histories, and the degrees to which everybody knows/doesn't know about them. The dynamics of relationships can be so rich and varied here. how to express it??
Also in terms of audio, I think using found sounds would be great -- clinking, talking, mingling, etc. But also sounds that wouldn't be present at a dinner party, but have to do with a night like that. For example, cars on the road, maybe a pre-recorded conversation that took place in a car between two people on the way to the party...something about "I can't wait to try that frisee salad she's been working on" or "you'd better not make me sit next to that boorish idiot this time"......or even farther back in time...two people are having a stifled and angry duet, for example, and the audio becomes a conversation they once had as young lovers, naive and hopeful.
Jens Lekman: Maple Leaves
This song is about a guy who is totally in love with the girl he's singing to, but keeps misinterpreting everything she says and thinks. The hook of the song is "You said we were just make-believe.....but I thought you said maple leaves." I'll bring a mix cd tonight with other stuff I can't remember.
I think this song has a really special sentiment, one I would like to see expressed in the piece, and that I think watching "the anniversary party" will reinforce. Strong emotions, misdirected, the ways in which people will never understand each other, and the ways they all try to cover it up.
small talk, empty conversation, knowing looks, totally misfired knowing looks; long, deep, sordid, craggy histories, and the degrees to which everybody knows/doesn't know about them. The dynamics of relationships can be so rich and varied here. how to express it??
Also in terms of audio, I think using found sounds would be great -- clinking, talking, mingling, etc. But also sounds that wouldn't be present at a dinner party, but have to do with a night like that. For example, cars on the road, maybe a pre-recorded conversation that took place in a car between two people on the way to the party...something about "I can't wait to try that frisee salad she's been working on" or "you'd better not make me sit next to that boorish idiot this time"......or even farther back in time...two people are having a stifled and angry duet, for example, and the audio becomes a conversation they once had as young lovers, naive and hopeful.
Wednesday, February 7, 2007
Speaking of food...
YouTube wouldn't let me post this video but you can click on that link to get to it. I'm not actually a huge fan of it, I just thought that the foot-in-mouth thing was kind of interesting.
Underneath
I really like the image of kids playing under the table. My brother and I used to do this a lot when we were little and build forts down there, etc.
We don't have to pretend to be kids or anything that literal but I think it would be cool to use the space underneath. And if we have a sheet/table-cloth at some point we could play around w/ silouhettes and shadows! I saw this done in a really cool way recently.
We don't have to pretend to be kids or anything that literal but I think it would be cool to use the space underneath. And if we have a sheet/table-cloth at some point we could play around w/ silouhettes and shadows! I saw this done in a really cool way recently.
Props/Stagecraft
Ideas for Props and Stagecraft
-Table (I already asked my boyfriend if he could construct something, he does architecture, and has some great ideas)
-chairs (also could be constructed)
-dinnerware
-easy bake oven (love this idea)
*I was thinking about what materials could be used for the table and chairs. Cardboard, thin wood, glass, etc.
-Table (I already asked my boyfriend if he could construct something, he does architecture, and has some great ideas)
-chairs (also could be constructed)
-dinnerware
-easy bake oven (love this idea)
*I was thinking about what materials could be used for the table and chairs. Cardboard, thin wood, glass, etc.
Word Game
Lets post words that remind us of a dinner party! ANYTHING that comes to mind.
- Napkins
- Spork
- Linen
- hats
- wine
Monday, February 5, 2007
Sunday, February 4, 2007
Ideas
Please feel free to add to the idea's and post blogs, images, poems etc.
-Table
-Chairs
-dinnerware
-Interaction with audience: 1) Easy Bake Oven on stage, audience member cooks something for us while we dance or wait. 2) Feeding audience food-handing out food on toothpicks.
-Costumes: old school 1800's Renoir painting-type costumes. Pastels, florals, fancy hats. A remake of that era, dresses not as long.... maybe knee length.
-Props: can be used, un-used.
-Table
-Chairs
-dinnerware
-Interaction with audience: 1) Easy Bake Oven on stage, audience member cooks something for us while we dance or wait. 2) Feeding audience food-handing out food on toothpicks.
-Costumes: old school 1800's Renoir painting-type costumes. Pastels, florals, fancy hats. A remake of that era, dresses not as long.... maybe knee length.
-Props: can be used, un-used.
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