![]() All of this is to say that I care deeply about this show. The memory of that very first visit led me to seek out the immersive theater community in L.A. Particular songs, smells, or even the décor in some hip speakeasy will immediately snap me back to 2011 and the first time that I experienced the show. One might even say my wedding had a subtle SLEEP NO MORE theme. I spent a summer working front of house on the show and sneaking into the space on my breaks. ![]() I’ve shelled out money that I didn’t really have in order to return to the McKittrick Hotel a dozen times since the show opened. Now, I don’t claim to be the end-all-be-all expert, but for the better part of a decade, this show has been a constant influence in my life. Still just as obsessed as ever, my friend had volunteered on the show by “fireproofing the apothecary,” a phrase that sounded completely ridiculous at the time, but is wholly impressive in retrospect. A few years later, in March of 2011, SLEEP NO MORE opened its doors in New York. ![]() I can only remember tiny details something about Shakespeare, something about the show being staged in an old elementary school, and something about… dancing? I didn’t get it. I had never seen someone talk about a show with such fervor. Awards: 2007 Connecticut Critics Circle Award ( No Exit, Hartford Stage), 2001 Elliot Norton Award ( Mother Courage and Her Children, A.R.T.), seven Independent Reviewers of New England Award nominations.In 2007, a friend of mine at NYU told me about an immersive theater show that they had seen in Boston. Dance soundscapes include works for Concord Academy Dance, Snappy Dance Theater Company, and Lorraine Chapman. Y), Our Town (Boston Theatre Works), Far East (Vineyard Playhouse), Only You (Efron Entertainment). Other credits include Farragut North and Yankee Tavern (Contemporary American Theater Festival), The Merchant of Venice (Actor’s Shakespeare Project), Ah, Wilderness! (CenterStage Baltimore), The Diary of Anne Frank (New Rep), The Scottish Play (La Jolla Playhouse), Leap (Cincinnati Playhouse in the Park), Daughter of Venus, Action Jesus and Dressed Up! Wigged Out! (Boston Playwrights’ Theatre), Sideways Stories from Wayside School, All of a Kind Family and The Fabulous Invalid (Emerson Stage), Samson Agonistes (92nd St. He has also toured regionally and internationally with the A.R.T. Sound designs by David Remedios have been heard in Sexual Perversity in Chicago/The Duck Variations, Romance, Trojan Barbie, Endgame, The Seagull, The Communist Dracula Pageant, Let Me Down Easy, When It’s Hot It’s Cole, Cardenio, Julius Caesar, Copenhagen, Donnie Darko, A Marvelous Party, No Man's Land, Oliver Twist, Britannicus, The Onion Cellar, The Island of Slaves, Orpheus X, Romeo and Juliet, No Exit, Three Sisters (2005), The Keening, Amerika, Olly's Prison, Desire Under the Elms, Dido Queen of Carthage, The Provok'd Wife (original music and sound), The Miser, A Midsummer Night's Dream (2003), Snow in June, Lady with a Lapdog, The Sound of a Voice, Pericles, Highway Ulysses, Uncle Vanya, Lysistrata, Absolution, Marat/Sade, Stone Cold Dead Serious, Enrico IV, Othello, Animals and Plants, The Doctor's Dilemma, Mother Courage and Her Children, Three Farces and a Funeral, Antigone, Nocturne, How I Learned to Drive, and Man and Superman. Borger has a Master of Arts in Theater from The Ohio State University. Previously Borger spent thirteen years as Deputy Head of the National Theatre Studio of Great Britain, where she oversaw the readings, workshops and classes for some of the most prominent playwrights, actors and directors in the United Kingdom. Prior to A.R.T., Borger spent over a decade as General Manager at the Royal Court Theatre in London, where she produced more than one hundred and fifty productions, including The Seagull, Rock ’n’ Roll, The Weir, Jerusalem, A Number, and My Name is Rachel Corrie, which transferred to New York. a home for emerging and established artists to take risks and create and incubate new work. Diane Borger joined the American Repertory Theater in the fall of 2009 as the Executive Producer for Sleep No More, and took on the full-time position of Producer for the A.R.T in January 2010 where she partnered with Terrie and Bradley Bloom Artistic Director Diane Paulus to make A.R.T.
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