{IN}TANGIBLE: A Dramatic Circus-Play by Brianna Kalisch Premieres at New York Theatre Row as part of the Dementia Society of America®’s 10th Anniversary
As part of the 10th Anniversary of the Dementia Society of America®, Brianna Kalisch’s circus play {IN}TANGIBLE will make its World Premiere at New York Theatre Row (410 West 42nd Street) from August 8–11, 2024, directed by Felicity Hesed. This innovative production combines the artistry of circus performance with poignant storytelling to explore the blurred timelines and emotional journey of a woman with dementia. Set in a nursing home, {IN}TANGIBLE follows ‘Q’ as she navigates the intertwining realms of present reality and vivid memories, creating a magical yet heart-wrenching portrayal of life as she remembers it.
What inspired you to create {IN}TANGIBLE, and how did the idea for this circus play come to you?
Brianna Kalisch: I was inspired to create {IN}TANGIBLE through a collection of experiences. After a loved one developed dementia, I began writing to process the experience. Seeing companies like The 7 Fingers experiment with monologues in circus, ABT at Lincoln Center, No Fit State in London, Complicité in Sydney, and many other sources of inspiration made me realize the immense vocabulary for storytelling if you use all the physicality circus has to offer alongside heartfelt dialogue.
Can you share the creative process behind combining dialogue and narrative circus to tell the story of {IN}TANGIBLE?
Kalisch: Different drafts definitely oscillated back and forth between more circus or dialogue. I produced two readings at different stages under the direction of Sarah Davey-Hull, which were very helpful in the development process. She had directed both theatre and circus, and her feedback was very insightful and frank. She once told me I had to earn the circus and if it didn’t tell the story, it was a distraction. That has been a great north star to guide the telling of this story. I want every bit of circus in the show to be necessary and add to it. Finding the right balance is the challenge, but I think we’ve made something that marries both.
How has your background in both theater and circus influenced the development and execution of {IN}TANGIBLE?
Kalisch: As someone who works in both theatre and circus, I’ve always been seeking to combine them. I look for stories in circus and love highly physical theatre that communicates beyond words. It was natural for me to tell this story using both. In execution, it was important for each circus apparatus to communicate something and have a grain of real life attached: a bench swing becomes a trapeze, a memory of being small means parents are tall — enter stilts, a tree is a corde lisse, etc. My dual background has led me to think in pictures first, then dialogue and choreography.
What challenges did you face while writing and producing {IN}TANGIBLE, and how did you overcome them?
Kalisch: One challenge was how to communicate the physical storytelling. I could see it clearly in my mind, but that wasn’t helpful to anyone else. I ended up creating concept art depicting how the circus told the story and inserting it into the script so someone else could read it and have a small glimpse of what it could be. Workshopping the show in residency at ArtYard in Frenchtown, NJ last summer was a huge blessing and gave us the opportunity to get photos and videos which further helped.
Another challenge was getting hit by a car in late February and being benched for several months with a bad concussion. While it threw a big wrench in the works and slowed our production timeline, it gave me a new perspective as I struggled with short-term memory. Thankfully, with the help of some terrific physical and occupational therapists, I’m back in action in time for this production.
What message or takeaway do you hope audiences will gain from experiencing {IN}TANGIBLE?
Kalisch: I hope it will be an excellent evening of theatre, that people will enjoy the story, connect to the characters, and embrace a type of storytelling that’s a little bit different. I also hope that if someone is dealing with dementia within their family, {IN}TANGIBLE will start conversations that lead to connection and support in what otherwise can be a very isolating experience.
How does {IN}TANGIBLE address the themes of dementia and memory, and why are these themes important to you?
Kalisch: {IN}TANGIBLE is about a woman and her family in the blurred timeline of dementia. Memory and reality collide, overlap, and walk side by side. It’s definitely not autobiographical, but this story came out of personal experience with a family member and trying to understand and grieve. It’s a difficult thing to lose someone before they are gone. It’s also an increasingly common experience but one that’s not talked about very often. I’m very glad to partner with the Dementia Society of America® on this production and introduce people to the great work they are doing.
What was it like working with director Felicity Hesed on this project, and how did her vision contribute to the final production?
Kalisch: Working with Felicity Hesed is fantastic. There aren’t many directors who really understand both circus and theatre and how to combine them into a magical recipe of great storytelling. It requires both wild creativity and deep restraint, and ultimately a clear focus on putting the story first. She is a great collaborator and helped workshop the show last August during our residency at ArtYard. Her vision has taken what was on the page, along with all the cast had to offer, and brought to life what used to exist only in a small corner of my imagination — and made it even more than that.
Can you tell us about your experience performing and creating theatrical performances across different countries, and how these experiences have shaped your work?
Kalisch: Living and working in Australia was a big creative catalyst for me. It’s where I first learned circus skills and was introduced to a much broader spectrum of theatre, including absurdism, surrealism, highly physical theatre, commedia dell’arte, puppetry, circus, and lots of experimentation. It was inspiring to see such a wide range of art being produced and definitely opened my mind to mixing genres and disciplines. One great benefit of working internationally is getting to see how and what other people are producing around the globe and letting that filter into your own creative lens.
As a founder of AEthem Theatre Company, how has your journey from Minneapolis to New York impacted your artistic vision and career?
Kalisch: Founding AEthem with a handful of other wonderful creatives was the beginning of my career as a generative artist and producer. While I love working strictly as an actor and performer, creating is in my bones. AEthem and our ensemble was a supportive and energizing place to begin that journey, and I’m thankful for all of them. It’s hard to say whether I’d be here producing {IN}TANGIBLE without that foundation, as it definitely laid the groundwork. AEthem is now under the direction of Kayla Hambek, who continues to make exciting new work in the Twin Cities.
What are your future plans and projects following the world premiere of {IN}TANGIBLE at New York Theatre Row?
Kalisch: I’m probably going to sleep for a week and then get back to making more art. Hopefully, we will have the chance to share {IN}TANGIBLE with even more people. I have a “throw-all-the-pasta-at-all-the-walls” mentality, so I don’t know (yet!) where the next opportunity will arise, but in the meantime, we will be applying, submitting, and fundraising for any opportunity I can find. If you hear of anything, be sure to send it my way!
Experience the magic of {IN}TANGIBLE at its World Premiere at New York Theatre Row from August 8–11, 2024. Don’t miss this unique blend of circus and storytelling that delves into the depths of memory and dementia.
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The cast of {IN}TANGIBLE includes Timothy Canali (Regional: A Chorus Line), Mikayla Dinsdale (École Supérieure des Arts Du Cirque), Brianna Kalisch* (Regional: Dr. Frankenstein), Sherese Parris (London: A Serious Case of the F*ckits), Diane Perell* (Broadway, National Tour: A Chorus Line), and Maks Turner (Bindlestiff Family Cirkus).
Creative team includes original musical by Ruby Fulton & Allison Clendaniel, acrobatic design by Evan Tomlinson Weintraub, sound design by Anna-Lee Craig, lighting design by Jacqueline Scalette, set and props design by Jiaying Zhang, and costume design Victoria Ordeman.
BRIANNA KALISCH (Playwright/performer) Brianna has had a life long passion for storytelling though the combination of theatre and movement. Beginning in 2009 with the founding of AEthem Theatre Company, Brianna directed, devised, and produced highly physical shows for the Minneapolis Children’s Hospital and the greater Minneapolis community. Since moving to New York, Brianna has conceptualized and produced multiple theatrical performances, circus shows, short films, and a narrative photo series which was featured in a national commercial. In 2020 Brianna began production on {IN}TANGIBLE, which marks her debut as a playwright. Brianna has also performed in numerous theatre and circus productions across the United States as well as in Australia, the UK, and as a guest artist with Virgin Voyages. She is a masters graduate of the Royal Central School of Speech and Drama and a member of both Actors’ Equity and The American Circus Alliance. briannakalisch.com
DEMENTIA SOCIETY OF AMERICA® (DSA) is the nation’s leading volunteer-driven all-Dementias awareness organization. DSA provides an information hotline (1–800-DEMENTIA®), many online resources and an easy-to-use, web-based locator, which can assist families and individuals in finding valuable support near to them. DSA also underwrites programs that provide recognition to those who serve the Dementia community through meaningful care, innovation and research. You can learn more about the Society at DementiaSociety.org.
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