![]() Wong had trouble deciding on a major at U-M - a lot of trouble. I’ve never been a part of anything like it.” Fuel for Life Now it’s a real building, and it’s entirely new. “Back then it was just a skeleton with no escalator. “I started working here in July 2018,” Wong says. Wong was able to witness the construction of the place from the outside - and inside. ![]() On other days, it’s retracted to create a walking and sitting space for pedestrians. An architectural and engineering attraction in its own right, the shell moves thanks to six steel “bogies” - basically giant six-foot-tall wheels - powered by six 15-horsepower engines.įor large events, the shell moves out to create an enclosed space for concerts and performances. The most visibly striking part of the Shed is its husk - an eight-million-pound shell that can move back and forth based on what’s happening in the space. The dexterity of the Shed’s programming is mirrored in its architecture. It comes with the same gravitas, but it’s entirely new.” You know what they do and you know that they arrived a long, long time ago. ![]() You walk into them with this sense of history. “I grew up with the Metropolitan Opera and Lincoln Center and the Whitney Museum of American Art. “I grew up coming to these storied art institutions,” says Wong, who was raised on Long Island. ’16), who has worked at the Shed since before it opened, says the space’s meteoric opening and ambitious and intensely collaborative programming differentiate it from other cultural landmarks in the city. Dragon Spring Phoenix Rise, a kung fu musical about twins who discover the power to extend life, opened over the summer.Īlumnus Justin Wong (A.B. A Björk concert features the Icelandic artist’s signature extravagant visual effects. One of the Shed’s spring exhibitions is a collaboration between visual artist Gerhard Richter and composers Steve Reich and Arvo Pärt that includes still images, choral singers, animation, and live instrumental music. The Shed defines itself as a multidisciplinary art and performance space, with a heavy stress on the “multi.” The work there is multimedia, multigenre, multifaceted. Later still was “Art and Disobedience with Boots Riley,” who directed last summer’s indie film Sorry to Bother You. After that came “Norma Jeane Baker of Troy,” a new dramatic work by former U-M professor Anne Carson. The space opened in April with “Soundtrack of America,” a performance directed by film director Steve McQueen celebrating African American music. The list of events is impressive, and it’s long. It’s hard to imagine what kind of profound and transformative thoughts you would have access to if you attended all of the first-year performances and programming at the Shed, a new art space in New York’s tony Hudson Yards neighborhood. Phelan has choreographed and directed movement for Fischerspooner’s Top Brazil, Mazda’s CRX commercial, and campaigns for GAP, Reebok, Stuart Weitzman, Refinery29, New York Magazine and The New York Times.This is an article from the fall 2019 issue of LSA Magazine. Phelan starred in and choreographed the short film Flow (SXSW), Cousin John (SXSW) and Lucid. On camera, Marla has danced in music videos Armor (Sara Bareilles) and Night by Night (Chromeo), in Comedy Central’s Alternatino, CBS’s The Late Show, specials for NBC and Netflix, the feature film The Kitchen, and in fashion campaigns for Desigual (dir. Recently, Phelan performed in Dragon Spring Phoenix Rise as part of The Shed’s inaugural season and in the opera Ellen West for The Prototype Festival. Phelan joined acclaimed immersive theater company Punchdrunk in 2011 for their Off-Broadway debut of Sleep No More and their National Theater of London production of The Drowned Man: A Hollywood Fable. She made her Broadway debut in Bartlett Sher’s Fiddler on the Roof and is currently the Associate Choreographer/ Assistant Director for the National Tour. Phelan has worked with Akram Khan, Hofesh Shechter, and Maxine Doyle. Marla received her BFA in dance from The Juilliard School. Marla Phelan’s career spans Contemporary Dance, Broadway, Immersive Theater, FIlm, TV, Commercial Campaigns, and Fashion.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |