|"Two things only the people anxiously desire
bread and circuses." Juvenal (c.60 -c. 130), Roman satiris poet.
With BREAD & CIRCUS 3099 Jack Shamblin and Nicole Zaray have created
an absurdist, ridiculous play that asks the question, "What will rebellion
be in the Biological Age?" Their answer is a high-tech "canned
adventure" in which a couple of boring old clones chase the "irregular
girl" through the "forbidden world" of 3099.
The lush, sophisticated multimedia production is one part "Logan's
Run," one part Absurdism and one part Theatre of the Ridiculous.
All roles but one are played by Shamblin and Zaray. A thousand years into
our future, an Entertainment Mechanic goes too far when she drags her
assigned companion, a Karma Worker, into Tumultua, the forbidden realm
of junkyard genetics and mutating biospheres, searching for an "irregular
girl" played by Hadas Gil-Bar. The economy of New York in 3099 is
plummeting and the Aggregate has hired an Information Specialist and the
Bounty Huntress to bring the pair back at all costs (these characters
being played by the authors, in a series of switcheroos). Along the way
mutant locals join them in a hilarious night of mad DNA chase scenes and
mystical dance music.
The show employs layers of acting, dancing, dialogue, TV monitors and
other multimedia props. It mocks and mimics the concepts of human cloning
and making all things "corporate." Written in a character-driven,
intelligent, farcical style, it is flavored with clever use of multiple
video projections and song.
In a commentary about the Bread & Circus 3099 work and progress at
New York's Dixon Place, Ana Paula Chrispiniano of MTV Brazil wrote, "'Bread
& Circus 3099' is a delicious surprise! The text is direct, precise
and funny. It's a necessary critique of North American society. A play
that makes the audience think and laugh without being boring one minute.
And two exceptional actors! Watch it, even if it's just to find out that
there's hope of intelligent life on Earth (even if we have to wait for
Jack Shamblin has collaborated at La MaMa with Theodora Skipitares, who
describes him as "an intense, serious theater maker." He has
worked with Caryl Churchill ("The Skriker," U.S. Premier NY
Public Theater), Theodora Skipitares, ("Under The Knife," La
MaMa E.T.C.), Paulo Henrique ("Minimally Invasive,", Expo 98
Dive Into The Future, Lisbon Portugal, Siemen's International Dance Festival,
Germany) and Eva Mueller, ("Submergence," Sketch Gallery London,
to open March 17, 2003). His solos include "3 Places" (HERE,
Teatro de Trindade, Lisbon, Dixon Place) and "Sodomite" (Mother
NY, The Red Room NY and Dixon Place). His original Plays include "Thurma"
and "Fake." He has worked with Philip Seymour Hoffman, Mark
Wing-Davey, Jayne Atkinson, Valda Setterfield, Kate Bornstein, Ellie Covan
and Ezequeil Santos. He teaches Performance Construction periodically
at Lisbon's Centro Em Movimento C.E.M. He is the current host of private
performance laboratories at Eva Mueller Studios.
Nicole Zaray has been the principal in numerous projects including the
film, "The Sticky Fingers of Time" by Hilary Brougher/Good Machine,
which was seen at Venice International, Toronto International, and in
over forty additional film festivals. She has appeared in "Under
the Knife" by Theodora Skipitares at La MaMa, "Momento Mori"
by Karen Finley at The Kitchen, "Polly's Panic Attack" by Sebastian
Stuart, directed by Everett Quinton, at La MaMa, and "Thurma"
by Jack Shamblin at Dixon Place. Her original work includes "The
Prettiest Thing" and "Where is She?" at P .S. 122 and "Joe's
Day," a short film starring Debbie Harry. She produced and directed
a documentary film, "Work, Life and the Unknowable," in 2002.
She was the featured vocalist on Moby's CDs "Feeling So Real"
and "Next is the E" (Mute/Elektra).
photo credits: Eva Mueller