The trick to sustaining love at first sight, their show suggests, is to never stop looking. White.) Though only 75 minutes long, Hundred Days has a slow, deliberate sensibility, in keeping with the Bengsons’ ways of dealing with death: not to outrun time but to force it to the pace you choose, extending it by a shared exultation in detail. (The four-piece band includes vocalists Jo Lampert and Reggie D. Hundred Days, the title song, is a reflective reaction to a medical crisis one of them is struck with that’s not concretely explored. Selected credits include The Bengsons Hundred Days (NYTW, La Jolla, US tour), Bernsteins. Vertical fluorescent tubes rise and fall snow descends in isolated columns and pools like sand in an hourglass, as Nicholas Pope’s sound design wraps the music around the audience like a blanket. Barrie Lobo McLain is a Brooklyn-based performing artist and creator. Hung like stars above the stage, designer Andrew Hungerford’s individual lights brighten and wane. In the show’s dramatic climax, she unleashes the dogs of fear in a furious wail of blues.ĭirector Anne Kauffman plays against the internal emotional extremism of the material with an elegantly spare staging.

(The homeschooled son of a Lutheran pastor, he spent his formative years trying “to be the best at having no ego.”) Abigail is more forthcoming, but in the aftermath of what she cloudily refers to as “a type of storm” that left her family in ruins, she has been plagued by visions of imminent catastrophe that make her recoil from the commitment she leaps into with Shaun. The self-effacingly bearded Shaun is a mild-mannered gent with only rare hints of turbid waters beneath his still surface. In their nimble theatrical concert Hundred Days, the husband-and-wife indie-folk-rock musicians tell a story of how they met and married three weeks later-it is seemingly autobiographical, though scripted by Sarah Gancher-and their attitude, at least initially, is affectless. He would like you to know that, thanks to the relentless march of time, his headshot is about a decade old.Love came quickly to the Bengsons, though not necessarily easily. Anns Warehouse), Hundred Days by the Bengsons, directed by Anne Kauffman (NYTW, La Jolla Playhouse. Here's a pretty cool thing about him from American Theatre Magazine. Broken Ear Setlist: Songs From Ohio by the Bengsons (St. His design aesthetic tends toward spectacular minimalism and elegant, economical maximalism.Īndrew is currently in his ninth season as Producing Artistic Director of Know Theatre of Cincinnati, where he has also been resident scenic and lighting designer since 2007.Īs a playwright, his work has been seen in Cincinnati, Edinburgh, Los Angeles, and San Francisco.Īndrew's writing, directing, and performance experience round out an approach to design that aims to serve the theatrical experience as a whole. He believes that theatre cannot be afraid of embracing new technology, but that technology cannot take the place of good storytelling.

He believes in building community through performance. And it must be committed to the highest standards of quality, no matter how small (or large) the venue and budget, while recognizing the humanity and capacity of the artists creating the work. He believes that, to stay relevant, theatre must create something for audiences that they cannot find elsewhere, that it must embrace the now of the experience, even if that experience is time shifted digitally. He also loves the challenge of generating a similar immediacy for audiences within much larger venues.

Andrew is fascinated by the exploration of theatrical magic in intimate performance spaces, the creation of of other worlds for engaged audiences only a few feet away.

Hundred days nytw