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| _____ Zach Morris _ Tom Pearson _ Jennine Willett | |||||||||||
           © 2012 Third Rail Projects All rights reserved. |
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"wonderfully sensuous off-kilter" – Roslyn Sulcas, The New York Times
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| Quotes ___---__-__Coverage |
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| "... a sort of Terpsichorean perfect storm." – Jacqueline Vergara Amézquita, LOS ANGELES DOWNTOWN NEWS (on Looking Glass) "When Zach Morris of Third Rail Projects (creators of the Steampunk Haunted House) walks past an empty storefront, he doesn’t press his nose up against the glass and dream of the day when the space will be selling $5 foot-long subs or overpriced designer duds. Quite some time ago, he had the foresight to envision an evolving art installation inspired by Lewis Carroll’s “Through the Looking Glass.” That dream is now a reality, albeit a twisted and ever-morphing one (appropriate, considering Carroll’s propensity for images and ideas that are as silly and surreal as they are dark and disturbing)." – Scott Stifler, DOWNTOWN EXPRESS (on A Series of Reveals) “…a theatrical last stand… razzmatazz entertainments like a chorus-line dance to “Love is a Battlefield” giving way to a recording of chanting voices and heavy drumbeats, and a gorgeous, whirling fancy-shawl dance.” – Claudia La Rocco, THE NEW YORK TIMES (on Walking In Two) “There were deliciously ominous moments… alive and vibrant… It would have been good, anyway, to see more of this investigation of Indian identity – which was set against a larger, troubled backdrop of Americana.” – Claudia La Rocco, THE NEW YORK TIMES (on Walking In Two) “People tend to think traditional when it comes to American Indian art. In ‘Heritage Series: Contemporary First Nation,’ Dance New Amsterdam shakes up this assumption, presenting new work by two choreographers who very much belong to the 21st Century.” – Claudia La Rocco, THE NEW YORK TIMES (on Walking In Two) “Two choreographers of Cherokee descent team up for an investigation of ethnic identity. Pearson’s “Walking in Two” restages and deconstructs a Wild West show, while his “Ceremony” casts a Japanese-American dancer in a solo that Pearson originally made for himself. Ahmadi’s “Scalp Lock” uses masks and puppetry to untie the metaphor of a warrior hair style. A gallery installation tracks the history of Native American performers and the story of a man who, in 1942, tried to make Columbus’s journey in reverse." – THE NEW YORKER (on Walking In Two) “keenly tuned into to the complexities of history, heritage, environment and contemporary context” – Eva Yaa Asantewaa, INFINITEBODY (on Walking In Two) “messes with the showbiz roots of America’s “cowboys and Indians” myth and delves into Pearson and Ahmadi’s own roots as Native performers.” – Eva Yaa Asantewaa, INFINITEBODY (on Walking In Two) “Sidestepping tired constructions, they made thought provoking statements and raised compelling questions about what it means to be Indian on stage.” – WET PAINT | IRA'S PERIPHERAL VISION (on Walking In Two) "The Third Rail Projects family of artists are not only collectors of quaint and quirky artifacts, as they assemble for their installation works, but also collectors and connoisseurs of the living spirit within places, things and people." – Eva Yaa Asantewaa, INFINITEBODY "Immerse yourself in a neo-Victorian experience that's more about terrifying dreamscapes and elegant horrors than temp workers dressed like blood-soaked zombies" – Scott Stifler, CHELSEA NOW & DOWNTOWN EXPRESS (on Steampunk Haunted House 2010) "... a decidedly more artistic approach with a lavish set... an immersive experience that thrives on audience engagement...The Steampunk Haunted House gets major points for visuals, as well as for some very enthusiastic players." – Perrin Drumm, SUNDANCE CHANNEL | SUNfiltered (on Steampunk Haunted House 2010) "spooky, but also breathtakingly beautiful, in a sort of terrifying way." – Leah Taylor, FLAVORPILL (on Steampunk Haunted House 2010) "highly stylized... catering to artsier thrill-seekers" – Gordon Cox, VARIETY (on Steampunk Haunted House 2010) "... haunting images of a re-envisioned Victorian past send chills up your spine... the combination art installation and haunted house is a lavish delight for the senses." – Caroline Ballard, THE VILLAGE VOICE (on Steampunk Haunted House 2010) "This Victorian-inspired immersive experience is more performance piece than horror show, but that doesn't mean you won't get spooked as you wander the winding corridors of this century-old playhouse. Hidden inside the labyrinth are artists decked out in gorgeously eerie period-costumes, creaking gear-powered beasts, and phantom-like sleepwalkers lurking around every corner. This haunted house will shock, enchant, and horrify you all within a single visit." – Erin Grant & Kristian Laliberte, TIME OUT NEW YORK (on Steampunk Haunted House 2010) "a definite must see...This is David Lynch-ian imagery come to life... once it go going it became like a waking dream" – THE JADED VIEWER, (on Steampunk Haunted House 2010) "So well done- my husband and I spent half an hour on the subway home discussing the different aspects/levels/meanings of what we saw... and what we thought we saw! I really felt like I was walking through a nightmare!" – Danielle Lyon O'Brien, audience member ((on Steampunk Haunted House 2010, via TRP Facebook Fanpage) "If you want to get your weird installation on, time is ticking... we're calling this one out as can't miss." – NEW YORK PRESS (on The Drifting Encyclopedia 2010) "Education and art with a bit of gothic ambiance and history thrown in." – TIME OUT HONG KONG (on The One You Love is Sick) "The Steampunk Haunted House is so fashionable, it's scary" – THE VILLAGE VOICE "expect the unexpected" – Claudia La Rocco, THE NEW YORK TIMES (on Undercurrents & Exchange 2009) "It’s immediately clear that Tom Pearson and Zach Morris of Third Rail Projects take great pleasure in their work and that the personal bond between them creates an atmosphere of trust and courage that nourishes their entire artistic team. " – Eva Yaa Asantewaa, INFINITEBODY "charmingly relaxed... quick earthy movements" – Roslyn Sulcas, THE NEW YORK TIMES (on Vanishing Point) "the dance equivalent of a peaceful ruminative discussion with a few close friends, drinks in hand." – Roslyn Sulcas, THE NEW YORK TIMES (on Vanishing Point) "Big themes... are tackled lightly and deftly" – Roslyn Sulcas, THE NEW YORK TIMES (on Vanishing Point) "wonderfully sensuous off-kilter" – Roslyn Sulcas, THE NEW YORK TIMES (on Vanishing Point) "movement segments that are touching and deep... add up to a vague sense of Faulknerian doom, set to good music." – THE NEW YORKER "...movement that shimmers with unusual psychic static." – THE NEW YORKER "impelled by the drums of the Heyna Second Sons...Pearson and his dancers pivot at the pelvis like oil-pump jacks" – THE NEW YORKER "Don't Miss!" – Gia Kourlas, TIME OUT NEW YORK "...aggressive lifts and tense stillnesses" – Gia Kourlas, THE NEW YORK TIMES "... an evocative poetic feel... They fit the movement to its environment as water takes the shape of its container... Hope & Anchor offered a measure of beauty, a little fun, and a few thoughts to mull over at Manhattan's edge where the invisible past floats below the present.." – Eva Yaa Asantewaa, GAY CITY NEWS (on Hope & Anchor) "...I veered off for awhile and followed the mermaid flopping through the seaport and the drunken sailor spilling on the maiden. But I came back to the singing and the ropes and sails... What a strange, lovely and melancholy piece. I enjoyed it very much. I thought it wonderfully evoked the threadbare weariness, the dirty beauty and the bawdiness of maritime mythology. And one of the unexpected pleasures of its site specificity was overhearing the anxious cellphone play-by-play conveyed by the sunglass salesman to... someone. "You won't believe it, they are dancing and singing. Many of them. Listen, listen! So close to my cart! There's a crowd. Who knows what it is!" – Tom Healy (on Hope & Anchor) "Some of the city's best choreographers... the piece features ghost-like illusions from shipwrecks of the past and present colliding with modern-day citizens in an exploration of man's continual connection with the sea... if the cool costumes and quirky choreography don't get your kid hooked, then the open air of the Seaport will." – TIME OUT NEW YORK KID (on Hope & Anchor) "Their movement–now angular and thrusting against the air, now sinuously splayed against the ground–looked as if it might belong to an ancient tribal culture with ties to various postmodern nations, and it was thrilling." - Tobi Tobias, THE VILLAGE VOICE (on REEL) "swift, explosive movements... people deeply engaged in purpose" – Eva Yaa Asantewaa (on REEL) "The structure and movement in 'Reel' build upon a similar circular momentum as dancers leap in the air and plummet to the floor in jerky spurts... Ultimately, the ghosts of the rotunda come to life." – Gia Kourlas, THE NEW YORK TIMES (on REEL) "...clever, innovative and delightfully campy." – UNCOOLKIDS.COM (on Beehive) "...like a round of Clue deconstructed by acerbic drama students." – THE NEW YORKER (on Screaming Shrubbery) "The shrubbery did scream in this comically macabre piece of dance theater... They sang, spoke and danced their way with gusto through a multitude of roles" – Jack Anderson, THE NEW YORK TIMES (on Screaming Shrubbery) "...there is no escaping the feeling that you have been doing drugs for the past hour when the cast finally bows. Good drugs." – Troy Tolley, NEW YORK COOL (on Screaming Shrubbery) "The promise of an amusing Edward Gory-like evening unwraps to deliver an unexpected exploration of human betrayal that is fresh, and even breathtaking. Unfossilized stuff." – Bill McCullum (on Screaming Shrubbery) "...a brief, ritualistic solo that combined a rapt mood with movement suggesting a fierce form of martial art." – Tobi Tobias, THE VILLAGE VOICE (on Ceremony) "...a soul-drenched delicacy..." – Eva Yaa Asantewaa, THE VILLAGE VOICE (on House of Jasmine and Bone/Parched) "...there is humanity in the performers' presentation and interaction, even a wry humor in some of the steps... and it's all good." – Brian McCormick, LGNY "... takes this choreographic storytelling to new heights, with a spirited ensemble and exciting creative force that touches the soul... stunningly original... robust, unifying, and powerfully demonstrative." – Jeannette Toomer, BACKSTAGE (on Spun/Uktena 2001) "...a surreal fusion of original choreography with African folk tales, Native American traditional forms, and oral traditions." – NEW YORK MAGAZINE (CUE Best-of-the-Week pick for Spun/Uktena) "... there are lovely moments... its transformation magical." – Deborah Jowitt, THE VILLAGE VOICE (on Spun/Uktena) "... fast and furious, other times tender and tranquil... almost ecstatic dancing." – Jessica Cassity, DANCE SPIRIT MAGAZINE (on Spun) "...coiled tension... terse and direct." – Anna Kisselgoff, THE NEW YORK TIMES (on Tom Pearson's work) |
PBS Special on Steampunk Arts, featuring Third Rail Projects and The Steampunk Haunted House Produced by KORNHABER BROWN Air Date: AUGUST 31, 2011
InfiniteBody Wet Paint
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