My performance work is deeply engaged with the object world. In a range of collaborative projects, I combine music, text, and scenography with an attention to material life. This often involves a reinvention of traditional forms of object performance, including toy theatre and puppet theatre. Playful as they may be, all of my projects are concerned with the conflicted historical past, and its impingement on the politics of the present.
Following my work as a company member of the Bread and Puppet Theater in the late 1990s, I developed a series of collaborative object-based performances. I was a founder of Le Petit Théâtre de l’Absolu, which from 2001 to 2005 created a number of toy-theatre shows based on revolutionary history, including Paris in the 19th Century Part 3: Demolition Polka and Part 4: La Commune. We presented these and other shows on tour in Canada, the U.S., France, and Spain. In 2003, we toured our children’s show, The Rooster and the King, through the occupied Palestinian territories (East Jerusalem, Bethlehem, Ramallah, Nablus, Qalqilya), West Jerusalem, and Tel Aviv. Following this, I went on to work with Clare Dolan and The Museum of Everyday Life on a series of performances based on short stories by the writer Isaac Babel, including Line and Color (2007), and The Road to Brody (2008). I have also worked on projects with other object-theatre companies, including New York's Great Small Works.
Currently, I collaborate with Toronto-based performing artists including Michaelangelo Iaffaldano and Kristine White (The Objects 2017, The Clock House 2016), Bee Pallomina (lichen/liken 2014, Moving Staircase 2012), Sean Frey (The Bain Homemade Stories Project, 2013), and Max Kelly (Songs about Objects, 2015). With playwright Kathleen McDonnell and the vocal group Kith&Kin, I performed in The Hollow Square, a performance mixing participatory shape-note singing and shadow puppetry, at St. George the Martyr Church as part of the 2015 Toronto Fringe Festival.