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Current Project:
Hold Music

Previous Projects:
One Arm and a Leg
The Untitled Project
The Space Between
Unlearning Intolerance

Pegleg is pleased to announce the first show of its 2011 season, HOLD MUSIC, directed by Calla Videt and presented by Culture Project as part of Women Center Stage 2011 at the Living Theater. Performances are Saturday @ 8:00 PM, Sunday @ 7:00 PM, and Monday @ 8:00 PM March 12-March 28. Get your tickets online now.

A symphonic story about the way people listen to each other and to the world around them, HOLD MUSIC takes us on a journey into the musical world of speech and memory, language and thought. Drawing upon live music, video, movement, and text to tell intertwined and parallel stories, the performance begins with the question: Why and how does music make us feel? How do things get stuck in our head?
"Hold Music ... is one of the most engaging and exciting new works of theatre I've seen this season."

"Calla Videt (director and co-writer) and B. Walker Sampson (co-writer) ... mark themselves as artists to keep an eye on with this inventive, lively, and intelligent physical theatre piece."


-Martin Denton, Editor NYtheatre.com (Click for full review)
Directed by Calla Videt
Music Directed by Arlen Hart
Written by B. Walker Sampson and Calla Videt
Choreography by Rick and Jeffrey Kuperman
Scenic Design by Ji-youn Chang
Lighting Design by Mary E. Stebbins
Video Design by Trevor Martin
Costume Design by Ginia Sweeney
Props Design by Laura Hirschberg
Technical Director: Kevin Davies
Stage Manager: Kara Kaufman
Asst. Stage Manager: Allison Kline
Dramaturgy by Noelle Ghoussaini
Publicity/PR by Lauren Rayner
Starring:
Merrie Jane Brackin
Arlen Hart
Arlo Hill*
Whitney Morse
Josh Odsess-Rubin*
Avery Pearson
Aya Tucker
*Appearing courtesy of Actors' Equity Association. HOLD MUSIC is an Equity Approved Showcase.

PEGLEG PRODUCTIONS is a new theater company based in New York City. We are a company of collaborators. Our work is interdisciplinary, relying on movement/dance as much as text to create dramatic effect and mood. It is explicitly self-conscious, commenting upon the conceits of live performance even as we endeavor to create an experience that could only occur at a live event. It is critical, taking as its basis the ordinary and extraordinary aspects of social life in the 21st century and portraying them in ways that excite, problematize, and provoke.
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