Coming off of their Obie Award winning production of A Beautiful Day in November on the Banks of the Great Lakes at City Center in January and the critically acclaimed Heartbreak at The Bushwick Starr in May, New Georges (Susan Bernfield, Producing Artistic Director; Sarah Cameron Sunde, Deputy Artistic Director; Jaynie Saunders Tiller, Managing Director) announces their final production of 2015, the World Premiere of HOW TO GET INTO BUILDINGS by Trish Harnetiaux (If You Can Get to Buffalo with Incubator Arts Project) at The Brick (579 Metropolitan Avenue, Brooklyn 11211; www.bricktheater.com) as part of The Brick’s Resident Artist program, December 3-19. Performances will be Tuesday through Saturday at 8pm with additional shows on Saturday, December 12 and Friday, December 18 at 4pm. Tickets ($18) are available online at www.newgeorges.org or by calling 866-811-4111.
The production will be directed by Katherine Brook (She is King at Incubator Arts Project’s Other Forces Festival) and feature downtown superstars Jess Barbagallo (House of Dance with Half Straddle), Mike Iveson (Gatz with Elevator Repair Service), Kristine Haruna Lee (A Beautiful Day in November on the Banks of the Greatest of the Great Lakes with New Georges), Tina Shepard (Talking Band), Jacob A. Ware (Agent Selby on HBO’s “Boardwalk Empire”), and Stephanie Weeks (The Past is Not a Foreign Country with Soho Rep) with Sound Design by Chris Giarmo (Resident Composer for Half Straddle), Choreography by David Neumann (Futurity with Ars Nova/Soho Rep), and Lighting Design by Josh Smith (Feeling with Glass Bandits at The New Ohio).
HOW TO GET INTO BUILDINGS takes an exploded view of love, in which confusion blends with confidence, time keeps shifting, amateurs are experts, and brunch can be fatal.
As a blueprint for her play, Harnetiaux used the structure of exploded view: an illustration or diagram used in manuals (for lawnmowers, bicycles, computers) that shows an object’s parts apart from the whole, but in positions that indicate their relationship to it. Roger and Lucy meet in a convention hall, Daphne and Nick break down at a diner, their stories intertwine as the play swirls around you, rotating on its axis, to articulate the experience of love, with its alternating moments of intimacy and isolation.