Press Release Material from PS122 ProductionBiography of DirectorBiographies of Artistic TeamReviews“Untitled Mars: This Title May Change” David Cote, Time Out New York“Untitled Mars: Lost in Space” Alexis Soloski, Village Voice“Untitled Mars: This Title May Change” Michael Schulman, The New Yorker“I Want to Go to Mars” Melena Ryzik, The New York Times

Features“Riding a Different Circuit” Aaron Mack Schloff, American Theatre Magazine“Martian to a Different Drummer” Helen Shaw, Time Out New York“Mars Bard” Rachel Syme, Page Six Magazine (The New York Post)

DVDUntitled Mars (This Title May Change), 2008 Performance Space 122, New York City

Untitled Mars (This Title May Change)7 performers1 director1 stage manager / assistant director1 touring manager / producer1 sound designer1 video designer1 lighting and stage supervisor

Dimensions variable 15m x 8m x 4m

Untitled Mars (this title may change)Jay Scheib, http://www.jayscheib.com, email. jayscheib@jayscheib.com, tele. 1-917-612-2137

Contents

Untitled Mars (this title may change)Jay Scheib, http://www.jayscheib.com, email. jayscheib@jayscheib.com, tele. 1-917-612-2137

In his latest work for Performance Space 122, director JayScheib, crash-lands seven performers into a simulatedMartian Environment in UNTITLED MARS: This Title MayChange. The first in a trilogy of works for live performanceunder the banner SimulatedCities / SimulatedSystems,UNTITLED MARS is an international collaboration be-tween celebrated theater ensemble Pont Muhely of Bu-dapest and a team of research scientists phoning in theirperformance live via satellite from the Mars Desert Re-search Station in Utah. Sound fake? It’s not. UNTITLED

MARS is a mind-bending excursion into an interplanetaryfuture defined by Scheib’s signature multi-media aes-thetic. This not to be missed performance is a Science vs.Fiction Simulation of Real Simulation as performed byReal Scientist in the very Real Utah desert. Rewriting Fic-tion with Reality UNTITLED MARS: This title may Changecaps a year of collaboration with an international team ofSpace industry visionaries, artists and research scientists

and students from Massachusetts Institute of Technology.

UUNNTTIITTLLEEDD MMAARRSSThis Title may ChangeConceived and Directed by Jay ScheibPremiered April 8, running through April 27, 2008 at PS122, 150 1st Avenue in New York Cityhttp://www.ps122.org

Phillip Cunio and Zahra Kahn with MITʼs logistics kit on the back of an ATV , photo courtesy of Guy de Carufel

Untitled Mars (this title may change)Jay Scheib, http://www.jayscheib.com, email. jayscheib@jayscheib.com, tele. 1-917-612-2137

with performances by Dorka Gryllus, Caleb Ham-

mond, László Keszég, Catherine McCurry, Tanya

Selvaratnam, April Sweeney, Natalie Thomas,

Balázs Vajna with special on-camera appearances by

Waris Ahluwalia, Phillip Cunio, Kofi Hope-Gund,

Henrik Hargitai, Zahra Khan, and Dr. Robert Zubrin

and others…Scenic Design by Peter Ksander, Cos-

tume Design by Oana Botez-Ban, Lighting Design by

Miranda Hardy, Sound Design by Catherine Mc-

Curry, Video Design by Balázs Vajna and Miklòs

Buk, Assistant Director Laine Rettmer, Hungarian

Producer Anna Lengyel

Directed by Jay Scheib

Untitled Mars (This Title May Change) is made pos-

sible by the generous support of the Ensemble Stu-

dio Theater/ Sloan Foundation commissioning

program; The Trust for Mutual Understanding; The

Hungarian Cultural Center; Deutsch-Ungarische In-

dustrie und Handelskammer; Swing Space, a pro-

gram of Lower Manhattan Cultural Council,

generously supported by the September 11th

Fund—project space donated by Capstone Equities;

with special thanks to the Mars Society, and Mas-

sachusetts Institute of Technology School of Hu-

manities Arts and Social Sciences.

UUNNTTIITTLLEEDD MMAARRSSThis Title may ChangeConceived and Directed by Jay Scheib

Performing April 8 - 27, 2008 at PS122, 150 1st Avenue in New York Cityhttp://www.ps122.org

Writer, Director and Designer, Jay Scheib has been developing new works for performance for over ten yearsin the US and throughout Europe. 2008 productions include Untitled Mars: This Title May Change at Perform-ance Space 122 in New York City and the live-cinema performance work This Place is a Desert, which pre-miered at Bostonʼs Institute of Contemporary Art last year and had a sold-out run at the Public Theater in NYCas part of the Under the Radar Festival. His collaboration with composer Anthony Gatto on a new opera adap-tation of Gertrude Stein's mammoth novel The Making of Americans will have its world premiere at the WalkerArt Center in Minneapolis in December.

Last year, he collaborated with acclaimed punk rock ensemble The World Inferno Friendship Society on the cre-ation of a multi-media music theater performance titled Addicted to Bad Ideas, Peter Lorreʼs 20th Century. Ad-dicted to Bad Ideas premiered at Philadelphia Live Arts Festival and will open the 2008 Season of the KasserTheater, Montclair State University in New Jersey followed by a European Tour. In 2006, he directed the criti-cally acclaimed Women Dreamt Horses, by Argentinean author Daniel Veronese, at Performance Space 122as part of BAiT – Buenos Aires in Translation. Also in New York, Scheib directed a studio production of Sloven-ian writer Saska Rakef's new play Shelter, first in conjunction with New York Theater Workshop as part of theEuropean Dream Festival and later in Ljubljana as part of the PreGlej Festival of New Plays.

At Raum (Space) Bologna, Scheib took part in the Xing Festival, presenting his Shakespeare adaptation AllGood Everything Good as a performance installation with Italian singer Margareth Kammerer. Other Interna-tional works last season include the world premier of Irene Popovic's opera Mozart Luster Lustik at the SavaCenter in Belgrade, Serbia and a new staging of the Novoflot science fiction opera saga Kommander Kobayashiat the Saarlandisches Staatstheater in Saarbruecken, Germany.

A recipient of the NEA/TCG program for directors, Jay Scheib is currently Associate Professor for Music andTheater Arts at Massachusetts Institute of Technology and a regular guest professor at the Mozarteum Insti-tute für Regie und Schauspiel in Salzburg, Austria and at the Norwegian Theatre Academy in Fredrikstad, Nor-way. He received his MFA in directing from Columbia University.

Untitled Mars (this title may change) / This Place is a DesertJay Scheib, http://www.jayscheib.com, email. jayscheib@jayscheib.com, tele. 1-917-612-2137

About the director

Oana Botez-Ban (Costume Designer) is a Romanian designerwho has worked with major theater and dance companies. Herwork is featured in Scenografica, the first Romanian theater de-sign catalogue. She has designed for The National Theater ofBucharest, Richard Foreman, Richard Schechner, Brian Kulick,Karin Coonrod, Jay Scheib, Eduardo Machado, Pavol Liska, andPig Iron Company among others. MFA in Design from NYU/TischSchool of the Arts. Princess Grace Recipient for 2007.

Phillip Cunio (Research Scientist) is currently completing hissecond year in the graduate program of the Department of Aero-nautics and Astronautics at MIT. He holds bachelor's degrees inmechanical engineering, aerospace engineering, and Germanfrom the University of Florida, from which he graduated in 2006.His research interests include manned space exploration, es-pecially permanent colonization of Mars, and his thesis work fo-cuses on commonality in ISRU (in-situ resource utilization)systems for the Moon and Mars and ECLS (environmental con-trol and life support) systems. Phillip's interest in space explo-ration dates to his childhood, when he grew up in the city ofTitusville, Florida. Phillip's other hobbies include linguistics andforeign languages, as well as science fiction.

Caleb Hammond (Actor). Directing: SICK (also writer) at TheOntological Theater and Collective Unconscious. Erik Ehn's SealSkin, FeverFest Boston. DESTRUCTION (adapted from RichardForeman's notebooks), TALR Festival, HERE. Acting: DanielVeronese's Women Dreamt Horses (Ivan), Dir: Jay Scheib,PS122. Sam Shepard's True West (Lee), Dir: Eileen Rooney,Piano Factory, Boston. Solo Performance: FIRE (Sex andDeath) Toured internationally. Exhibitions: Can You Get That?Collaboration with Rise Industries, Gallery 825, Los Angeles.

László Keszég (Actor) was born in Szabadka, Voyvodina, aHungarian city in Serbia. He was admitted to the Academy ofDrama and Film in Budapest in 1991. Not satisfied with theactorʼs role in the theater, he also applied to the directing pro-gram and finished his last year of acting while already startingin the directing program led by László Babarczy, the managingand artistic director of the Kaposvár Theater, where he invitedKeszég upon his graduation as the youngest director member

of the great company. Keszég started his career in Kaposvárwith Shakespeareʼs Titus Andronicus as his diploma work. Hesoon gained a name as one of the most exciting young talents.Since the new National Theater was built in Budapest, Keszéghas been one of its regular directors, staging there and in Ka-posvár international classics like Tales from the Vienna Woodsby Horváth, Wedding by Gogol through Hungarian classics likeSzépʼs Bridegroom to commissioned new work from Hungary.Keszég has been awarded grants and scholarships, includingthe International Residency of the Royal Court in London, andhis productions have been invited to festivals and reknownedtheaters throughout Europe. Mr. Keszég is the founder and artis-tic director of the cutting edge theater company, Pont Műhely.Collaborations with Jay Scheib began in 1999.

Zahra Khan (Research Scientist) is a graduate student atMIT working on problems of re-entry at Mars. She holds aBachelor's degree in Aerospace Engineering from CarletonUniversity in Ottawa, Canada and her favourite nursery rhymein kindergarten was Twinkle, Twinkle Little Star. A dual citizenof Canada and Pakistan, she hopes to someday be a dual cit-izen of Earth and Mars.

Peter Ksander (Scenic Design). Sculptor and theater artistbased in Brooklyn, NY. Has designed for: The Brothers Size (ThePublic Theatre), Laude in Urbis (Compania di Colombari), Armsand the Man (Intiman theater), The Blackamoor Angel (BardSummerscape) Women Dreamt Horses (BAiT Festival) and ThisPlace is a Desert, (ICA Boston, UTR The Public Theatre). He isco-founder of Tiny Elephant, and has continuing artistic relation-ships with The Ontological-Hysteric Theater, the Theater of aTwo-Headed Calf, Banana, Bag, and Bodice, and TENT. Recip-ient NEA/TCG Career Development Program, 2005.

Dramaturg / Hungarian Producer Anna Lengyel earned herPhD in theatre dramaturgy and literary management at theAcademy of Theatre and Film, 2006. An accomplished directorwith credits throughout Europe and the United states such theSchaubühne in Berlin, Lincoln Center Festival, New York City,The National Theater Budapest, and many others. Ms. Lengyelhas worked with directors such as Wulf Twiehaus, Andor Lukáts,

Key Collaborators

Pál Kurucz, Árpád Schilling, László Keszég, Tamás Ascher, JayScheib, Declan Donnellan, and Robert Wilson among others.She has translated and adapted plays by Béla Pintér, BenedekDarvas, Neil LaBute, Anne Washburn, Friedrich Dürrenmatt,and Tennessee Williams. Ms Lengyel is also a professor at theAcademy of Theatre in Budapest.

Catherine McCurry graduated from MIT in 2007 where shestudied physics and music. She also trained as a violinist andcomposer at the New England Conservatory. Recent produc-tions in New York include sound mix and additional design forJay Scheibʼs THIS PLACE IS A DESERT at the Pubic Theaterand sound music and video design for IMMINENCE at LaMama E.T.C., Other recent credits include sound and music forMATERMORPHOSIS and RED, BLACK AND IGNORANT withSerious Play! in Northampton, MA, and DEMOLITION DOWN-TOWN/MUNICIPAL ABATTOIR for the Provincetown Ten-nessee Williams Festival, in which she also acted.

Tanya Selvaratnam (Actor) has toured around the world withThe Wooster Groupʼs House/Lights and The Builders Associa-tionʼs Alladeen and Super Vision. She has been a guest actor atNew Dramatists, the Lincoln Center Directorʼs Lab and the In-stitute on Arts & Civic Dialogue (under the direction of AnnaDeavere Smith). In 2007, Tanya was a resident artist at Yaddo,Voice & Vision Theater at Bard College, and the Blue MountainCenter; and appeared in, among others, Rotozazaʼs DoubleThink at PS 122, 9 Scripts from a Nation at War at Documenta,Fiona Templetonʼs The Medead at Dixon Place, and her soloshow at Issue Project Room. Also a respected film producer,she is currently in post-production on Chiara Clementeʼs OURCITY DREAMS about five decades of women artists and be-ginning production on Catherine Gundʼs documentary aboutkids and food politics. Tanya received her undergraduate andgraduate degrees from Harvard University, where she studiedChinese and the history of law…and also received the PeterSellars Award for her commitment to the arts at Harvard. Shewas born in Sri Lanka and grew up in Long Beach, California.

April Sweeney (Actor). With Jay Scheib Women DreamtHorses (BAIT Festival-Performance Space 122), This Place is aDesert (ICA/Boston), Herakles (Chashama), West Pier (OhioTheatre), POD (COL). Regional/Off-Broadway: Streetcar NamedDesire (National Tour-Montana Rep.), Grapes of Wrath

(Arkansas Rep.), The Idiot (Manhattan Ensemble Theatre),Three Sisters, and Uncle Vanya (ChekhovNOW Festival). Inter-national: Arcá de Babel (Bolivia, Argentina) Training: MFA-Acting,Columbia University. Ms. Sweeney is Assistant Professor ofTheatre at Colgate University.

Natalie Thomas (Actor) has been an associate artist of Mov-ing Theater since 2006, most recently appearing in Mass Parti-cle No. 1, a performance work directed by Brennan Gerard andRyan Kelly, created at Robert Wilsonʼs Watermill Center andperformed at Abrons Art Center in New York. Natalie has alsobeen a member of An Films since 2006. For An Films, she per-formed in Naked Product at The Stella Adler Studio and starredin Heute Nacht, the companyʼs inaugural short film. Natalie hasbeen a movement coach with the The Wooster Group since2003; she has worked on Poor Theater and is currently workingon their production of Hamlet. Natalieʼs theater credits includeLucid at the Cherry Lane Theatre, 52 Pick-Up at the GeneFrankel Theatre and The Wooster Groupʼs House/Lights at St.Annʼs Warehouse. Natalieʼs dance credits include Woolf Phraseat Brooklyn Academy of Music, Minus 16 at Lucent Dansthe-ater, The Hague, and Eidos Telos at Sadlerʼs Wells, London.Natalie was a company member with Nederlands Dans TheaterII, Berlin Komische Oper, and a soloist with William ForsytheʼsBallett Frankfurt.

Balázs Vajna (Actor / Designer) started his professional the-ater work with one of Hungaryʼs most prestigious independentcompany, Mozgó Ház, Moving House, which later regrouped inthe HUDI Ensemble. He started out as an actor and assistant di-rector (two roles which he kept), but gradually became the videodesigner in an oeuvre and performing style where the visual be-came one of the crucial elements, making Mozgó Ház an out-standing representative of cutting edge Hungarian theater, oneof the most often travelling independent companies in this coun-try. Mr. Vajna travelled extensively with the company to festivalsand other venues including the Berliner Festspiele, the BonnerBiennale, Hamburg, the Wiener Festwochen, the Caracas In-ternational Theater Festival, the London LIFT, Arhus, Basel,Antwerpen, Brussels, Amsterdam, Groningen, Münster,Freiburg, the Philadelphia Fringe Festival (USA), Ljubljana,Prague, Zagreb, Sarajevo, Zürich, Rotterdam, München, theSan Antonio Festival (USA), Rakvere (Estonia), the AvignonTheater Festival, Polverigi, Cividale (Italy), Burgos, Torino etc.

Robert Zubrin (Research Scientist) is an American aerospaceengineer and author, best known for his advocacy of manned Marsexploration. He was the driving force behind Mars Direct—a pro-posal intended to produce significant reductions in the cost andcomplexity of such a mission. A modified version of the plan wassubsequently adopted by NASA as their "design reference mission."Disappointed with the lack of interest from government in Mars ex-ploration, and after the success of his book "The Case for Mars" aswell as leadership experience at the National Space Society, Zubrinformed the Mars Society in 1998. This is an international organisa-tion advocating a manned Mars mission as a goal, by private fund-ing if possible. Zubrin holds a B.A. in Mathematics from theUniversity of Rochester (1974), and a masters degree in Aeronau-tics and Astronautics, a masters degree in Nuclear Engineering,and a Ph.D. in Nuclear Engineering — all from the University ofWashington[1]. He has developed a number of concepts for spacepropulsion and exploration, and is the author of over 200 technicaland non-technical papers and five books. He was a member ofLockheed Martin's scenario development team charged with de-veloping strategies for space exploration. He was also "a senior en-gineer with the Martin Marietta Astronautics company, working asone of its leaders in development of advanced concepts for inter-planetary missions" (The Case for Mars 1996). He is also Presidentof both the Mars Society and Pioneer Astronautics, a private com-pany that does research and development on innovative aerospacetechnologies. Zubrin is the co-inventor on a U.S. design patent anda U.S. utility patent on a hybrid rocket/airplane, and on a U.S. util-ity patent on an oxygen supply system. He was awarded his firstpatent at age 20 in 1972 for Three Player Chess. His inventionsalso include the nuclear salt-water rocket. Zubrin lives in Indian Hills,Colorado, with his wife, Maggie Zubrin, and two daughters.

About the Mars Desert Research StationQuoted from the Mars Desert Research Station (MDRS) website, http://desert.marssociety.org/

Mars Analog Research Stations are laboratories for learning how tolive and work on another planet. Each is a prototype of a habitat

that will land humans on Mars andserve as their main base for monthsof exploration in the harsh Martianenvironment. Such a habitat repre-sents a key element in current humanMars mission planing. Each Station'scenterpiece is a cylindrical habitat,

"The Hab," an 8-meter diameter, two-deck structure mounted onlanding struts. Peripheral external structures, some inflatable, maybe appended to the Hab as well.

Each station will serve as a field base to teams of four to sixcrew members: geologists, astrobiologists, engineers, mechanics,physicians and others, who live for weeks to months at a time inrelative isolation in a Mars analog environment. Mars analogs canbe defined as locations on Earth where some environmental con-ditions, geologic features, biological attributes or combinationsthereof may approximate in some specific way those thought to beencountered on Mars, either at present or earlier in that planet's his-tory. Studying such sites leads to new insights into the nature andevolution of Mars, the Earth, and life.However, in addition to providing scientific insight into our neigh-boring world, such analog environments offer unprecedented op-portunities to carry out Mars analog field research in a variety ofkey scientific and engineering disciplines that will help prepare hu-mans for the exploration of that planet. Such research is vitally nec-essary. For example, it is one thing to walk around a factory testarea in a new spacesuit prototype and show that a wearer can pickup a wrench - it is entirely another to subject that same suit to twomonths of real field work. Similarly, psychological studies of humanfactors issues, including isolation and habitat architecture are alsoonly useful if the crew being studied is attempting to do real work.

Furthermore, when considering the effectiveness of ahuman mission to Mars as a whole, it is clear that there is an oper-ations design problem of considerable complexity to be solved.Such a mission will involve diverse players with different capabilities,strengths and weaknesses. They will include the crew of the Marshabitat, pedestrian astronauts outside, astronauts on unpressur-ized but highly nimble light vehicles operating at moderate distancesfrom the habitat, astronauts operating a great distances from thehabitat using clumsy but long-endurance vehicles such as pres-surized rovers, mission control on Earth, the terrestrial scientificcommunity at large, robots, and others. Taking these different as-sets and making them work in symphony to achieve the maximumpossible exploration effect will require developing an art of com-bined operations for Mars missions. The MARS project will beginthe critical task of developing this art.

TheaterTime Out New York / Issue 655 : Apr 16–22, 2008

Untitled Mars: This Title May ChangeP.S. 122 Conceived and directed by Jay Scheib. With ensemble cast.

1hr 30mins. No Intermission.

SPACE ODDITY Sweeney, right, encounters an astronaut.

Photograph: Justin Bernhaut

Director Jay Scheib doesn’t look like a geek. With his art-school specs, tousled hair and stylish attire, this laid-back orchestrator ofmultimedia installations surrounds himself with strikingly attractive actors and sexy technology. Yet scratch the surface and underthe hipster auteur you might find a chubby nerd building a spaceship out of tin foil and cardboard in the garage. Now, Scheib andhis dedicated actor-technicians have graduated to fancier materials with Untitled Mars: This Title May Change, a docu-video-per-formance piece that merges speculative science and avant-garde theatrics.

The elaborate, multizoned playing space created by Peter Ksander (the most ingenious set designer working downtown) is a re-creation of the Mars Desert Research Station in Utah—itself a simulation of the Martian landscape, where scientists hope we’ll es-tablish a colony. The plot (related in elliptical fragments) is a crude pasteup of soap-opera seductions and sci-fi pulp, featuring areal-estate villain (Caleb Hammond), a heroic repair woman (Tanya Selvaratnam) and a scientist (April Sweeney) who may havefound a link between schizophrenia and clairvoyance. Oh, and there’s a guy in green makeup with a giant lizard tail.

Using live video feeds and editing software to create the illusion of walking on the Martian surface, Scheib masterfully blends high-tech effects with his performers, who wrestle and simulate sex with gusto. (He himself appears, quizzing real scientists aboutspace exploration via Skype linkup.) Even though the message—wherever we humans go, we’ll bring our problems—is old as RayBradbury, at least the vehicle is super space age. (See also “Martian to a different drummer,” page 161.)

—David Cote

http://www.timeout.com/newyork/events/off-off-broadway/54302/521200/untitled-mars

Theater

Sightlines

Untitled Mars: Lost in SpaceJay Schleib's beguiling, perplexing trip to the red planet

by Alexis SoloskiApril 15th, 2008 12:00 AM

Space case: Untitled Mars (This Title May Change)Justin Bernhaut

"Is there any life on Mars?" David Bowie and various scientists have long inquired. Writer-director-performer Jay Scheib doesn'tanswer their query, but he does provide a lively look at the attempt to populate the red planet in Untitled Mars (This Title MayChange). In collaboration with MIT scientists at the Mars Desert Research Station (MDRS) and members of Budapest's PontMühely theater company, Scheib heads a theatrical mission to that far-off sphere.

The script is utterly jumbled—a fusion of Dr. Robert Zubrin's scholarly treatise The Case for Mars, Philip K. Dick's science-fictionMartian Time-Slip, live video conferencing with a tart-tongued aerospace grad student, as well as footage and transcripts fromMDRS. The play primarily discusses the potential of a one-way mission to Mars. But it also includes romantic relationships, sinis-ter experiments, and dodgy real-estate deals.

With three video screens, various computer monitors, and three separate stage environments, the plot isn't the only perplexing el-ement. Often, the eye doesn't know where to settle. Yet what a pleasure to encounter an artist like Scheib, with so many ideas andso many means of presenting them. And if the narrative rather baffles, the visual images—in all their plenitude—are arresting, asare the attractive actors. In a video clip, Dr. Zubrin insists: "We have to go to Mars simply because it's there." If Scheib's leading,we just might go along for the ride.

Untitled Mars (This Title May Change) By Jay Scheib, P.S.122, 150 First Avenue, 212-352-3101 http://www.villagevoice.com/theater/0816,sightlines-1,411867,11.html

Goings On About Town

THE THEATRE

April 28, 2008

UNTITLED MARS (THIS TITLE MAY CHANGE)Jay Scheib’s antic play—half lab-rat experiment and half sex farce—grew outof a collaboration with M.I.T. researchers who are studying the possibility ofa manned expedition to Mars. Scheib imagines a tightly controlled Martiancolony (or is it a simulation?) that devolves into an orgy of greed, lust, and in-sanity. Between scenes, he speaks with a scientist via Webcam about the po-tential challenges—technical and psychological—of a Martian voyage.Throughout, Scheib strikes a tone of semi-academic seriousness laced withdeadpan, surrealistic humor. Some of the pulp-inspired elements (time travel,a lesbian affair) are too silly for their own good, but the over-all effect is oneof happy disorientation. (P.S. 122, at 150 First Ave., at 9th St. 212-352-3101.Through April 27.) - Michael Schulman

http://www.newyorker.com/arts/events/theatre/2008/04/28/080428goth_GOAT_theatre?currentPage=2

THEATER

II WWaanntt ttoo GGoo ttoo MMaarrssBy MELENA RYZIKThursday, April 24, 2008

Attention sci-fi geeks, multimedia freaks and cutting-edge theaterlovers: ““UUnnttiittlleedd MMaarrss ((tthhiiss ttiittllee mmaayy cchhaannggee)),,”” running through Sunday at PS 122, may be your kind of show. Created by Jay Scheibwith help from his M.I.T. colleagues and the Mars Society, it’s set on aspace station on the red planet. With video projections, Skype chatswith astronomers and text borrowed from Philip K. Dick, it’s meantto bridge “the hard science of how we get to Mars and the science fiction about what happens when we get there.” The singularperformer MMiikkee DDaaiisseeyy loved it so much that he agreed to appeartonight as a Mars expert (yep, he’s a nerd).

http://www.nytimes.com/indexes/2008/04/24/urbaneye/index.html

mportant things to know about director Jay Scheib: Born: 1969, Shenandoah, Iowa. Occupation: associate professor in music and theatre arts, Massachusetts Institute of Technol-ogy. Number of productions slated for 2008: five, three of them world premieres, taking place in three countries. (“Last season, I had seven premieres in five different countries,” Scheib says evenly. He says everything evenly.) Number of resident theatre gigs this year and every year hereto-fore: zero.

How can such a direc-tor as Scheib—who, not so incidentally, has also writ-ten or adapted scripts for about a dozen of his own productions—earn degrees and awards from impeccably conventional bodies (B.A., University of Minnesota; MFA, Columbia University; NEA/TCG Career Devel-opment Program grant) and then go on to fashion his career entirely outside of the institutions they were intended to serve—ostensibly the center of the American theatre? The circuit he is now riding—stretching from New York City’s P.S. 122 to Minnesota’s Walker Art Center to theatres and festivals in Hungary, Austria and Germany—suggests that another center exists and that another kind of theatrical life is possible, even if it’s not quite, or not yet, a living.

“One of my goals is to pay my actors as much as they would make temping,” he says. Still, his regular actors, a group of six to eight that one might call the Jay Scheib Play-ers, moan like addicts when they think of working with him again. “Whenever I get a call from Jay, I just stop the presses,” says New York–based performer Eric Dean Scott. He and

the rest of Team Scheib are gambling big as they develop Scheib’s exuberantly physical, heavily technologized but emotionally open style of theatremaking. Audiences and critics may love it or hate it, but they are rarely indif-ferent. Scheib himself cites Tadeusz Kantor, Robert Wilson, William Forsythe, Rem Koolhaas and Anne Bogart among his various inspirations

and mentors—famous names that would mean nothing if Scheib couldn’t refine those influences to give every work (whether it be a song cycle or straight play, with his own text or not, high-tech or low) a genuine sense of excitement and risk.

Let’s look at the projects. In January This Place Is a Desertappears at Mark Russell’s Under the Radar Festival at New York City’s Public Theater, the equivalent, for Scheib’s circuit,

of the resident theatre’s Humana Festival of New American Plays. Desert is a smashup of relationships inspired by the works of filmmaker Michelangelo Antonioni and Three Mile Island transcripts. Disintegrat-ing couples video and re-video each other with multiple live feeds designed by Scheib’s frequent collaborator Leah Gelpe.

In March, his as-yet-untitled Mars project premieres at P.S. 122, combining scientific fact and fiction to imagine genuine space colonization. In July, Scheib’s staging of the biographical song cycle by the gypsy cabaret punk band World Inferno Friendship Society, titled Addicted to Bad Ideas: Peter Lorre’s Twentieth Century, has its European premiere at the Salzburg Sommerszene (it played this past September at the Philadelphia Live Arts Festival). This coming September, not far away in Budapest, he will adapt Philip K. Dick’s science fiction in a piece called Time Again and Again, for Pont Mühely theatre (whose actors also plan to take part in the Mars project, if funding permits). An engagement tentatively scheduled for December will bring him to Minneapolis to direct the premiere of Anthony Gatto’s opera

of Gertrude Stein’s The Making of Americansat the Walker Art Center. Scheib is writing the libretto.

And that’s the year. Add to that at least one student production, various readings, teaching. “For the past three years, I’ve been booked a year and half in advance,” he says, again, evenly. “This year it’s almost two.”

Scheib is tall and lanky, with thick brown curly hair going gray and a square, friendly face with a point of a chin. He moves and speaks casually—at a roundtable discussion, he’d rather sprawl than sit. A former high school track-and-fielder, he can live in his body as well as his mind. (The result, perhaps, of his Midwestern farm-boy

upbringing. Actor Aimée Phelan-Deconinck remembers, “In Germany, we were outside a rehearsal space. A shirt was in a tree, very high, and he lassoed it.”)

This casualness is also deceptive—or no longer the whole story. The sprawling productions of Heiner Müller and of Scheib’s own works (produced by his own theatres, the Arcade Theatre and the American The-atre Institute) that gave him outlaw cred in Minneapolis in the ’90s have been replaced, 10 years later, by shows that display a more focused mind and structured development.

taste. “He likes high culture, but he also likes trash,” declares German opera director Berthold Schneider of the Saarländisches Staatstheater in Saarbrücken, who imported Scheib to direct episodes of the space opera Kommander Kobayashi after seeing his work in Berlin. “This is rare—there are few people who can contain such various visual and other impressions.” When asked why so many of his adapted works have “after” in the cred-its—“after Tolstoy,” or Euripides—Scheib speaks of searching for ways to make the works as surprising as they were when they were born. With Tolstoy’s play The Power of Darkness, which he developed with his MIT students before directing the show for Pont Mühely, he dropped characters, restored censored scenes and rewrote based on actor improvisations. The play’s rural violence resonated for Scheib. “I grew up in Iowa in the ’80s when every third farmer went bank-rupt. Rather than doing the play as a museum piece, I did research to see to what extent it paid homage to its time and engaged social

issues—and then I found a way to reassess them.”

I witnessed a sample of Scheib’s approach last year, when he directed Daniel Veronese’s Women Dreamt Horses at the Buenos Aires in Translation festival at P.S. 122. I’d seen Veronese’s own production of his play in Argentina—a semi-realis-tic dinner party in cramped quarters, brimming with suppressed violence. Under Scheib’s direction, the play-ing space was vast and the violence was drawn to the surface, enacted with box-ing, slap fights, compulsive

vomiting and semi-gymnastic stunts. Was this acting or contact improv? It played like both—and, at the first show, also a bit like porn (when they’re talking, you just want the action). But when I returned for the final show of the run, all was knit together: sen-sible, Argentine at the source, but American in tone and, most important, continuously

interesting. Scheib had gambled and won. Scheib is perfectly comfortable being

textually faithful to other writers’ new plays, but one thing about Women was atypical—its low-tech style. At the finish of Women, the gun-toting actor just yelled “Bang.” (By comparison, This Place Is a Desert has four screens with live video feed. The role of video mediation in live performance has obsessed Scheib for more than a decade.)

Listening to his players talk about how they developed Women reveals a lot about Scheib’s method. First of all, like his teacher Anne Bogart, Scheib treats his actors as col-laborators rather than instruments. “He’s interested in people—who you are, what you bring to the process and how you and only you can bring that thing,” says another frequent actor-collaborator April Sweeney. When their extensive table work on Women finally ended, Scheib brought the cast to its feet with small exercises and wild-card requests—recipes for moments the actors would go off and create. “We composed a list of things to have,” says Scott, “like 30 seconds of a repeti-tion or one moment of the smallest possible violent event.” One actor knew how to box.

They used it. Dance-trained Phelan-Deconinck can stretch her ankle above her head, casu-ally. So they used that too.

Like the late Polish exper-imentalist Kantor, Scheib gives titles to different periods of his work. The past seven years, ending with Desert, were “The Flight out of Naturalism.” A new era, “Simulated Cities/Simulated Systems,” is being born with the Mars project.

Scheib’s research bent is supported by his current berth at MIT, which, he says, forces him to organize his thinking. “MIT is a research institution. If my research has to do with the integration of media and live performance, or develop-ment of tech for use in live performance, or exploring other theatrical idioms, I have to theorize them and describe them in concrete ways.” He can also use student productions to begin explorations—he had his first crack at the Mars project at MIT in October, for instance. “So long as I can continue to main-

tain a studio environment that I connect to teaching, then I’ll continue to be happy,” he says. “When it becomes routine, it’s time to leave—but as yet it’s never routine.”

The practical challenge for Scheib is turning his theatre life into a living. In the past year, Shoshana Polanco, who produced the Buenos Aires in Translation festival, has joined him as creative producer (a title that

suggests a formal economic relationship that they do not yet have). Her role is flexible, she says, but the management responsibilities are now hers. Financial stability is still a goal. “We fantasize about taking over one of the regional the-atres,” she says, even as she admits she has no contact with them.

How long this alternative circuit can sustain them is a hanging question. “I put the work out; I write letters. Most theatres are not interested,” shrugs Scheib. Still, with the Under the Radar showcase, the

array of other projects on tap and Polanco on board—not to mention the continuing loyalty of his players—2008 (or 2009 or 2010, when his schedule opens up) could be the year love meets money.

TheaterTime Out New York / Issue 655 : Apr 16–22, 2008

Martian to a different drummerMultimedia wizard Jay Scheib colonizes the Red Planet for theatrical research.

By Helen Shaw

MISSION CONTROL Scheib probes a strange planet.

Photograph: Naomi White

Deep in the belly of an abandoned vault on Wall Street, a man with a lizard tail talks softly to his foam clawsas another stages an aggressive seduction in a boardroom. An almost whisper-soft suggestion—“Could youtry that a little more tenderly?”—comes from the lanky director crouching at the lovers’ feet. Even thoughembraces in Jay Scheib’s shows usually look like wrestling holds, the note persuades actor Caleb Ham-mond to grip his paramour slightly less viciously—as he half-nelsons her into a revolving chair. The lizardpicks up a camera.

http://www.timeout.com/newyork/articles/theater/28605/martian-to-a-different-drummer

Welcome to Mars. Or at least, welcome to a rehearsal of Untitled Mars: This Title May Change, a droll, discom-bobulating trip to the Red Planet as dreamed up by Scheib. An unlikely collision of scientific experiment andPhilip K. Dick, the show takes its inspiration from one of the Mars Desert Research Stations, a deadly seriousoutpost where researchers wear space suits and run around the Utah desert. While the scientists simulate lifeon Mars, Scheib’s company will simulate the scientists—though with a significantly lower budget. Set designerPeter Ksander describes the mash-up of sci-fi and reality as the new alienation effect: “Jay is using Mars in thesame way that Brecht used the Thirty Years War.” It’s not that alien: The 38-year-old director lives in Cam-bridge, Massachusetts and teaches at MIT, where some of his students might actually have a crack at beingMars pioneers.

As with almost all of Scheib’s work, the show will be thick with video, much of it shot live in the room. He maynot want to become a one-trick pony (“I have an Iphigenia coming up that has no video at all!” he assures us.“Maybe three light cues!”), but Scheib is still known for his multimedia work. Video appears in most of hisshows, its function changing to create phantoms (The Vomit Talk of Ghosts), a sensation of surveillance (ThisIs the End of Sleeping) or a self-consciously cinematic composition (the Godard-inflected This Place Is aDesert). But the director claims there is a constant. “It all stems from trying to work on naturalism,” he explains.“I wanted to take up the game that all my incredibly cool teachers—Robert Woodruff and Anne Bogart—hadsaid was dead. It was my rebellion.”

The resulting works, exquisitely designed with the lackadaisical rhythms of everyday speech, look totally unlikethe rest of the New York avant-garde, though they ring bells with theater buffs in Germany and France. “I amsynthesizing techniques that already exist,” Scheib readily admits. “It’s just that in Europe, the Wooster Groupisn’t on the fringes—they’ve been folded into the mainstream.”

Not everybody is a fan. Scheib’s dedication to observing human behavior forces theatrical time to slow tosomething like real time, and the pace downshift can leave viewers impatient and disoriented. (Tip: Pretendyou’re in a gallery watching an installation.) And while theater has been incorporating projection for decades,audiences still rankle at how the video steals focus. Says Scheib: “Desert upset a lot of people. Theater audi-ences feel bad that they’re watching a screen. But for me, video is a delivery system. It’s simply a way to bringthe performer closer.”

Scheib may be the most acclaimed experimental American director whose work you have never seen. TheNew York premiere of This Place Is a Desert during Under the Radar in January moved him into the criticalspotlight, but this production at P.S. 122 will be his first high-profile run of any length here.

New York economics hobble Scheib’s process. His languorous, ensemble-driven works need long rehearsalperiods and the kind of technical fine-tuning that can’t be done on Off-Off Broadway’s panicky schedule. AtMIT, he develops work in peace, and then spends roughly four months in Europe making pieces at well-fundedspots like the Staatstheater Saarbrücken or Salzburg’s Mozarteum. The expense of dealing with Equity andNew York real estate drives our most interesting directors into the arms of European state funding.

Another major director who gigs too rarely in New York, Woodruff taught Scheib, but now sees him as a col-league. “It’s great that he found a home at MIT,” Woodruff says. “He can fly off to Europe, but he still has aplace to do his research. If you find another setup like that—please tell me first.” The struggle for funding is justanother reason to make Untitled Mars. “You should go to these space-vision conferences,” Scheib says with achuckle. “That community sounds just like a theater conference—it’s always about the lack of funding. It’s veryrarely about art.”

Untitled Mars: This Title May Change is at P.S. 122.

http://www.timeout.com/newyork/articles/theater/28605/martian-to-a-different-drummer