While this show exists in a fictional alternate dimension of our world, it has also served as a distorted mirror to reveal the cracks of own absurd and violent and upsetting reality. Join us in rising up against our given circumstance and waking up to truly see the world around us.
In this story, almost everybody wins by the end. They do it by figuring out that independence comes at ironic cost: complete reliance on the people around you. They do it by accepting that although the darkness never passes forever, we can occasionally overcome it together.
We're looking both forwards and back in this remixed adaptation of the Back to the Future trilogy. We've cut, spliced, and compressed this epic tale. Some things will be recognizable. Others won't be the way you remember. The past, as we've discovered, can be just as much of a moving target as the future.
Do you like scary movies? So does InGen Productions. DIE YOUNG takes on SCREAM—the surprise blockbuster that launched the slasher flick into a new era of meta-horror—mashing it up with musical influences from the murder ballad to our fave apocalyptic teen anthems. Through song, dance, some mean stage combat, and some 90's glam, we'll be asking the tough questions. What does it take to survive? Is the fake blood too red? And what are you doing with a cellular telephone, son? This production will explore the dark corners where unlikely pairs consort: youth and loss, pathos and savagery, sex and violence. Whether you're a first-to-die type or a final girl, we'll see you through the night, but we can't promise not to give you nightmares.
“You gotta believe!”
Our expanded remount of 2012's Nine Lives.
Let's come together out of the cold to tell a classic story and sing contemporary carols. You know the plot, the characters, the images. A story of good and evil. Ideals triumphing over corruption. Hope in the darkness. A story of goodwill towards men, and destiny fulfilled. Our pageant's goal is to reunite you, face to face, with a story and experience that occurred 22 years ago.
In E.T. we see a phenomenon that is all too familiar: the next generation stepping up to do what's right, in the absence of the previous generation's action. The three siblings quickly discover what must be done to support their new friend, and act upon it. Their decisions are not influenced by bureaucracy, fear, or self-preservation; they act out of love, ecology, and peer protection.
Many of us were the age of Elliott, Gertie, or Michael when we saw this movie. We resonated completely with E.T. and the kids, and knew with complete certainty that if we found E.T. we would do all the same things to protect him. Many of us are now the age of the adults in the film: the adults that distrust the other, protect only themselves, and work within a system of fear. Have we lived up to our childhood ideals? Will we still protect the alien? Will we still defy the established authority to defend those in need?
Death isn't funny. However, this is a show about death and it is funny. This is a dark comedy about some of the least funny parts of our world. This show explores an imagined post death journey where two people enter a stage of life (or afterlife) with few answers and many questions. In this new journey, the dead defend their home, find themselves in conflict with those who are different than them, create family from friends, fight for survival, protect their young, cling to each other for support and look for answers in a relatively ancient book which contains indecipherable wisdom. Though this is an imagined world, it doesn't sound too different than what we, the living, experience daily. Perhaps by looking and laughing at the dead we actually are looking and laughing at ourselves.
The film and albums we used in adapting this show are responses to earlier work and society. We delighted in their referential nature and embodied that. It’s not only a meditation on the film and albums and their influences, but also a meditation on the ongoing and universal struggle of the oppressed “other” and society’s fascination with differences. Electric Sheep asks, “Do you know what you’re fighting for?”, “What does it mean to be fully human?” and “Will you sleep or will you preach?” The film, the album, and the play ask us, will we continue to exist as fearful consumers of society or will we rise up and fight for those who are treated as things instead of beings?
In honor of InGen’s one-year anniversary and Jurassic Park’s 20th anniversary, InGen remounts Life…Finds a Way. It is in some ways a reproduction of a reproduction of a reproduction, and in some ways it is something entirely new. LFAW4D is its own play, living its own life, following its own instincts. It has no idea what century it’s in, and will defend itself, violently if necessary.
Like our first show, Life…Finds A Way, this is a recreated cinematic experience. But the process has not been 100% duplication. It has been closer to a sort of Christmas Pageant. You know the plot, the characters, the images. Who tries to murder which baby; what prophecies and decrees are professed or decreed; which symbolic objects get transported from here to there. A story of good and evil. A story of archetypes triumphing over societal flaws. A story of goodwill towards men, and destiny fulfilled. Our pageant's goal is to reunite you, face to face, with a story and experience that occurred twenty years ago.
We, much like the creators of the “biological attractions” on Isla Nublar, are resurrecting something from the past. For this resurrection to be possible, we needed to rely on the information left behind in the form of DVDs, scripts found on the Internet, and memories of folks who saw the film 20 years ago.