I’ve talked to a few people who are surprised I’m making a outdoor summer show.
Maybe they’re used to me and Small Wooden Shoe looking like this:
In a tie – with a microphone or two stuffed in my face.
And that’s pretty accurate for what I’ve been up to this century.
Last century however:
led to this:
which led to:
and later, at Burning Man, in a Navada desert, to this:
I don’t have pictures from working with Public Dreams building lanterns, lighting fireworks or being inside a puppet rig for Parade of the Lost Souls. This was before we carried around a phone, let alone a phone with a camera.
I wandered away from this kind of work for all sorts of complicated reasons – personal and artistic. But there is no doubt that the years spent in the public spectacle world has been a huge part of my outlook on life and was incredibly transformative for a shy kid who couldn’t imagine running around a desert in a dance belt.
A few years ago, I started to get a hankering to return to outdoor spectacle work.
I missed the connection with the audience, I missed the potential of people just stopping and watching, I missed the liberation and pleasure that comes with performing and rehearsing outside.
But I also wanted to include the values intimacy and big ideas that I love in performance.
I believe these things are complimentary, not exclusive.
And The Summer Spectacular is the first time we’re going to prove it.