h+bill "the dating game"

Christy Ramirez Daniel Exinvil

Classically trained in The BLADE Dance Technique®, these elite dancers are continuing the conservatory's tenets in presenting Hip-Hop dance within the milieu of concert dance and augmenting the public's perception of Hip-Hop dance's foundations as a virtuoso technique. We posit that in order for the art-form to gain respect, it must stand independent of the ubiquitousubiquitous media-driven images associated with hip-hop. Only then can it achieve its own well respected identity, which will in turn enhance the culture from which it was spawned. MISSION

Porshia DerivalAnna Kuzmina Silas Miller

Nicolas Carra

Camilla Cusini

THE REPERTORY COMPANY

www.hdcny.org 800.697.4698 [email protected]

STAY CONNECTED WITH US

Safi A. Thomas, Artistic Director

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Game

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Scene I Scene II

Scene III

“Mo” and “Kristiana” speak to one another about the sentiments encompassing their attitude towards one another.another. We meet the chorus of patients who repeat the oppositional sentiments from “Mo,” each representing a side of his brain. “Mo” reminds “Kristiana” of what their love could have looked like, and thethe anguish that ensues for this not being the case. The “Orderly” knocks him out on his wheelchair.

We enter into the Common Room of HDCNY State Psychiatric Institution where “Kristiana” has placed “Mo.” He meets many other patients, each with their mental illnesses, who go through their daily routinesroutines with the doctors and orderlies.

“Mo” expresses regret, wishing he never started a relationship with “Kristiana.” He doesn’t think there is a chance they will ever reconnect. While the “Left Brain” blames himself for his feelingsfeelings the “Right Brain” blames “Kristiana”.

ACT I

ACT II

The background story of “Mo” and “Kristiana’s” relationship.

SCENE I“Kristiana” weeps in misery with a torment that gnaws so wrenchingly at her core.

SCENE II“Mo”“Mo” writes about his experiences, emotions, dreams, while thinking about old acquaintances and reminiscing over “Kristiana.” He arrives at this feeling of no point of return: he has given up on functioning and being happy. He perceives his depression as a natural state and questions when his life will be more of a success.

SCENE III“Mo” lives in regret and the “used to” mentality about his ex-girlfriend, “Kristiana.”“Kristiana.” He misses their exchanges of love and fights.

SCENE IVWe hear the thoughts of outside parties such as doctors, family, friends on who “Mo” is. “Kristiana” then tells us her side of the story, the difficulties holding in the deep pain regarding their relationship. She wants to latch on to the precious memories that she knows can no longer be.

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Scene IV

Scene V

Scene VI

Scene VII

Scene VIII

FINALEThe “Orderlies” jam to the radio, relaxing during their lunch break. The song speaks to “Mo’s” expectations that tomorrow will be the same as today: recidivism.

Bow Sequence

“The Sound of Music”“Kristiana” explains that she loves “Mo” but he is an artist and does not really know who he is, thereby causing detriment to their ability to have a stable relationship.relationship.

“Mo” has moved from denial to an intensified anger. While his “Left Brain” directs his hate towardstowards “Kristiana,” the “Right Brain” begs her to be with him. “Kristiana” feels trapped within his side of anger and repulsed by his begging side.

We return to the Common Room of HDCNY State Psychiatric Facility where the patients go through their daily routines with the doctors and orderlies, just as it was when we were first introduced.

A

“Mo” confronts his deepest desires, which is that he still wants “Kristiana” even though he dismissed their chances of reuniting just moments ago.

“Mo” dreams that he has reunited with “Kristiana” and they make love. He wakes up, infuriated, realizing this fantasy is not reality. An “Orderly” slams him into his wheelchair.

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Christy Ramirez Daniel Exinvil

Classically trained in The BLADE Dance Technique®, these elite dancers are continuing the conservatory's tenets in presenting Hip-Hop dance within the milieu of concert dance and augmenting the public's perception of Hip-Hop dance's foundations as a virtuoso technique. We posit that in order for the art-form to gain respect, it must stand independent of the ubiquitousubiquitous media-driven images associated with hip-hop. Only then can it achieve its own well respected identity, which will in turn enhance the culture from which it was spawned. MISSION

Porshia DerivalAnna Kuzmina Silas Miller

Nicolas Carra

Camilla Cusini

THE REPERTORY COMPANY

The

Dating

Game


SYNOPSISClassically trained in The BLADE Dance Technique®, these elite dancers are continuing the conservatory's tenets in presenting Hip-Hop dance within the milieu of concert dance and augmenting the public's perception of Hip-Hop dance's foundations as a virtuoso technique. We posit that in order for the art-form to gain respect, it must stand independent of the ubiquitousubiquitous media-driven images associated with hip-hop. Only then can it achieve its own well respected identity, which will in turn enhance the culture from which it was spawned. MISSION


The

Dating

Game

h+bill "the dating game"

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