The cinematic soundtrack to the play Stadium Devildare by Ruth Margraff and inspired by Shostakovich, Blue Oyster Cult and Chinese percussion, this album veers from huge orchestral pieces to beats made by slowing-down recordings of motorcycle engines.
“…[the actors] unleash torrents of text, fevered arias fueled by Margraff’s astonishing sense of language, words spilling forth at mach speed, sentences in overdrive, their evocative images and provocative meanings barely glimpsed as they rocket toward the horizon… Sides’ canny direction, supplemented by Graham Reynolds’ thundering, adrenaline-rush score, keeps the work focused and compelling.”– Robert Faires, Austin Chronicle
Rude Mechs’ Field Guide @ Yale Repertory Theatre
With breakneck speed and endless invention, Field Guide skates through one of the greatest—and longest!—novels ever written: The Brothers Karamazov. Rude Mechs literally (well, not literally) rips pages out of Dostoevsky’s powerful meditation on faith, meaning, and morality and mischievously replaces them with stand-up comedy, pop music dance numbers, a cardboard bear, and a talking bird. The play features original music by Graham Reynolds. Learn more about Field Guide‘s production history here.
Field Guide will run January 26 – February 17, 2018 at the Yale Repertory Theatre.
Single tickets will be on sale starting August 28th, 2017 at 10AM.
The Intergalactic Nemesis
The Intergalactic Nemesis is a stage show written and directed by Jason Neulander, based out of Austin, TX. It is billed as a “live-action graphic novel,” due to its combination of the visual medium of comic books with elements of radio play and traditional stage performance. The show recently spent a month in Scotland at the Edinburgh Fringe Festival.
“Something you simply must experience if you are a fan of awesome.” —collider.com
“The little show that could.” –The Wall Street Journal
“Fascinating.” –Conan O’Brien
“Great fun! [A] happily retro multimedia extravaganza!” –The New York Post
★ ★ ★ ★ “Furiously entertaining!” —Sydney Morning Herald
“A feast for both eyes and ears. … Genius.” – Los Angeles Beat
“Without a doubt one of the best and most exciting evenings you will find in theater. … Pure theater magic.” – examiner.com (Cleveland)
“You’ll be amazed and entertained!” –broadwayworld.com
“The coolest theatrical experience Earth has ever seen.” —Calgary Herald
★ ★ ★ ★ “Cunning blend of modern technology with good old-fashioned graft-and-craft.” —The Herald (Scotland)
“Totally nuts and a ton of fun! … Do not miss it!” —austinist.com
“The show was so polished that it almost seemed as though a) live-action graphic novels were actually a standard style of performance, and b) Neulander and company had perfected it.” —KCMetropolis.org
Pancho Villa From a Safe Distance
Legendary Mexican producer and hitmaker Toy Selectah collaborated on Graham Reynolds’ “Pancho Villa From a Safe Distance” experimental opera. The mix-master wizard for Monterrey Mexico’s Hip Hop en Español Pioneers Control Machete, has been working with a long list of artist, bands and contemporary music friends such as: Calle 13, M.I.A., Theivery Corporation, Diplo, and more. He now lives in Monterrey, Mexico and resides as Creative Director, A&R and CEO of Sones del Mexside his own production company and boutique label, home of recently top-ranked Mexican rock band División Minúscula.
“The whiz Dj and producer has created an individualized hybrid sound of south American riddims, nueva cumbia and jump-up soundsystem styles, as well as energetic remixes of Lil Wayne, Morrissey and Diplo.” – Red Bull Music Academy
“Pancho Villa From a Safe Distance” had its Austin premiere in April 2017. The opera just had it’s Corpus Christ premiere at The Harbor Playhouse on 2/28. The April premiere was part of the Fusebox Festival and featured Toy Selectah’s remixes.
Field Guide was presented in Fusebox Festival 2016.
“The show (it’s hard to classify it as a “play” in the classical sense) blends scenes from The Brothers Karamazov, imaginatively and energetically presented, with moments of stand-up comedy, direct address, dance, and personal confession.
At turns hilarious and heartbreaking, these separate building blocks accrete into a larger performative edifice that questions the ability to adapt something with the depth and complexity of a Russian novel for a visual medium like theater. Field Guide’s answer to this quandary is to create bare, simple, yet utterly amazing and inventive scenes of theatrical depth and complexity that explore the ability of the stage to probe deep into the human psyche in ways that a novel is unable to.” – Andrew J. Friedenthal, Austin American-Statesman, 2016 production
Stop Hitting Yourself
With Stop Hitting Yourself (2015), Rude Mechs embraced the fundamental beliefs underlying late-stage capitalism and indulging in their version of 1930’s Hollywood glamour. Part Pygmalion, part Busby Berkley, part self-help lexicon — all while dancing around a queso fountain. Rude Mechs borrows from the plots of 1930’s musicals to dig into the contemporary conservative dilemma: how to honor steely individualism without disavowing the virtue of charity. Tap dancing, fine dining, and the missionary position will be employed in order to help all Americans to stop hitting yourself.
Composer / Sound Designer – Graham Reynolds
The Securely Conferred, Vouchsafed Keepsakes of Maery S.
THE SECURELY CONFERRED, VOUCHSAFED KEEPSAKES OF MAERY S. combines literary and dramatic narrative with eye-witness accounts of Sasquatch encounters from the internet. It spans several time periods and geographies.
Songs by Austin-based composer Graham Reynolds, after Johannes Brahms and the Jimi Hendrix Experience, with lyrics by Kempson, under the musical direction of the legendary Chris Giarmo, who will also perform. Alexandra Dewez will design set and costumes, Eva von Schweinitz will design video.
MAERY S. was originally created by ‘frankensteining’ together the excesses of writing and research from Kempson’s recent collaborations FONDLY, COLLETTE RICHLAND (with Elevator Repair Service) with that of FROM THE PIG PILE: THE REQUISITE GESTURE(S) OF NARROW APPROACH in Austin, TX (with Mr. Reynolds, Rude Mechs and Salvage Vanguard Theater). It was developed further at the Playwrights Center in Minneapolis for a 2013-14 McKnight National Residency and Commission and in the PlayTime laboratory residency at New Dramatists this November 2015.
The Method Gun
Featuring: Thomas Graves, Hannah Kenah, Lana Lesley, Jason Liebrecht, Shawn Sides / Heather Hanna
Design: Lowell Bartholomee (projection/video), Graham Reynolds (sound/composition), Brian Scott (lighting), Leilah Stewart (scenic)
“Our own Helen Shaw raves about the Rude Mechs’ “intensely funny, abruptly touching” play in her review in this week’s issue, and having seen the show last night, I couldn’t agree more. This is a special piece of work that will leave you thinking about theater, people, theater people, teachers, students, nostalgia, kisses, perfection, balloons and tigers.“– Upstaged Blog Post – Time Out New York 2011