by Anchuli Felicia King
A white man and an Asian woman are in a bedroom. It appears to be night. The woman pours tea with forced elegance. The man assesses her with the intelligence of a crow. At first, it appears that this is some kind of solicitation between soldier and geisha. But as time wears on, the cracks in their performance begin to show, and their true relationship unravels in a series of startling revelations. A muscular and smoldering two-hander, Orientalism is an explosive meditation on race, sex and performance.
THURSDAY MAY 12 @ 9 pm
FRIDAY MAY 13 @ 6:30 pm
SATURDAY MAY 14 @ 6:30 pm
To make an email ticket reservation, please fill in the form below, and we will get back to you with a ticket reservation confirmation email with directions to the theatre and a ticket confirmation code. Please bring this ticket confirmation code to the theatre where you will pay and pick up your tickets. All tickets at $20.
ORIENTALISM - BIOS
Kim Kerfoot (Director) is a South African director best known for his award-winning direction of Athol Fugard's Statements After An Arrest Under The Immorality Act. The production received accolades from Athol Fugard himself, before transferring to the Fugard Theatre in early 2012, where it had a sold-out extended run. Most recently, he directed an original adaptation of The Yellow Wallpaper by Charlotte Perkins Gilman and a one-woman multidisciplinary play, Inherent End. He has worked with a variety of South African artists and companies, including ZANews (the award-winning satirical puppet news program) and FTH:K (From The Hip: Khulumakhale, a multiple award-winning non-verbal, visual theatre company that integrates deaf and hearing artists). He is currently pursuing his MFA in Directing at Columbia University.
Anchuli Felicia King (Playwright/Mina) (Anchuli) Felicia King is a playwright, composer and dramaturge of Thai-Australian descent, currently undertaking her M.F.A. in Dramaturgy at Columbia University School of the Arts. Before moving to New York, Felicia served for several years as the artistic director of Cryptophasia Theatre Company, an independent company that specialized in the development of original, contemporary Australian music theatre works. She was also the resident composer at Four Letter Word Theatre, and an active collaborator with multiple companies in the independent Melbourne theatre scene, including Until Monstrous and Periscope Productions. As a playwright, Felicia is interested in multiculturalism, the fragility of identity and the intersection of the private and the political. Her writing is unapologetically muscular, pitting lyricism against the mundane, tenderness against brutality. Her plays, each in their own way, explore the nature of conflict in a globalized world.
Alez Marz (David) - Originally from Boston, Massachusetts, Alex has just completed his first year as part of Columbia University's MFA Acting Program. He received his undergraduate degree from Connecticut College where he majored in Theater and American Studies. Favorite past roles include Macbeth in Macbeth, Jonah in Bad Jews, and Romeo in I Heart Juliet, an original rap version of Romeo and Juliet written in collaboration with The Q Brothers.
Lucy Powis (Dramaturg) is an MFA dramaturgy student at Columbia University who hails from Toronto, Canada. She is one of the founding members of Then They Fight, a company dedicated to exploring contemporary Canadian narratives and bridging the gap between artists of different cultures, experience levels, and disciplines. She co-created The 10/10/10 Project a massive multidisciplinary experiment in which 40 artists create a piece while communicating solely through their work. She most recently assistant directed the world premiere of Colleen Wagner’s The Living, which examined a village haunted by the release of perpetrators from jail after the Rwandan genocide, and won the Audience Choice Award at the SummerWorks Festival. This summer, she will be leading Then They Fight’s inaugural playwrights’ roundtable.
Cary Bland Simpson (Producer) is an MFA candidate in Columbia University School of the Arts’ Theater Management and Producing program. Originally from North Carolina, Cary has worked up and down the east coast in both managerial and creative capacities, and is currently an intern with Theater Development Fund’s outreach initiatives.
Orientalism received a reading and workshop at the Columbia University School of the Arts earlier this year, with actors and directors from the M.F.A. Theatre program.