Written and performed by Jody Christopherson
with additional text from the writings of Mary Shelley, Percy Shelly, Lord Byron, William Godwin, Mary Wollstonecraft and Luigi Galvani's experiments with "animal electricity"
AMP: an electrical current, A Modern Prometheus, a multi-media solo horror play, inspired by the monsters society creates.
As Mary Shelley begins the process of writing Frankenstein in 1816, her experiences are interwoven with film interviews of a cellist's failed attempt to join the Boston Symphony, during their first historic "blind auditions" in 1952. Scientist Luigi Galvani's discovery of "animal electricity" acts as a bioelectromagnetic undercurrent, unleashing the power of women's creative monsterous genius, along with surgical films, haze, period costumes and projections and films shot at abandoned asylums in New York and Massachusetts.
AMP received its world premiere at HERE Arts Center in New York. It will recieve it's Candaian premiere with Workshop West Playwright’s Theatre in Edmonton, Alberta Feb 2018. AMP has been developed at New York Society Library, (is the recipient of a New York Society Library Grant underwritten by Alexander Sanger), All For One Theater's So-Co Lab, Write Out Front (in the window of the Drama Bookshop), Live-Source, and a writing retreat in Rouen, France, 7 blocks from where Joan of Arc was burned at the stake.
Directed by Isaac Byrne
Sound/Projection Design: Martha Goode
Lighting Design: Stacey Boggs
Camera Operators/ Assistant Directors: Michael Niederman and Erika Phoebus
Dialect Coach: Chloe Dirksen
Voice Overs by Finn Kilgore, J. Stephen Brantley, Nico Grelli, Chloe Dirksen and Jonathan West
Photography by Jody Christopherson, with films created by the company
Stage Managers: Kristine Schalchter and Amy Marin
PRESS for AMP
"a fierce burst of inspiration and madness."- Theasy.com
"a finely-tuned ballet of sight, sound and graphic horror."- Stage Buddy
“ELECTRIFYING . . . A MUST-SEE . . . Christopherson's play does excellent work engaging with the gender politics of 19th-century Romanticism and their unfortunate twentieth-century analogs. Christopherson herself is riveting in a demanding onstage role, and makes both Mary and Anna complex and compelling in differing but complementary ways. . . will perhaps put some audience members in mind of the excellent recent television adaptation of Margaret Atwood's Alias Grace.” - Culture Catch
"Unforgettable, electrifying characters . . . sheer majesty. . . a triumph. A beautiful, Romantic cello soundtrack floats through it all, thanks to sound designer (and projection designer and producer) Martha Goode. Scary and enjoyable . . . brings back a sense of wonder about monsters." - Theater in the Now
"Primal and tantalizing . . . indubitably dazzling technical aspects . . . Christopherson’s captivating performance gives a palpable intensity to the heroines both onstage and onscreen. Kudos to Stacey Boggs for the ingenious lighting design that’s at once atmospheric and spellbinding: those perfectly timed effects might as well transport you to a real life psych ward, as well as a stormy night in the early 19th century. " -Exeunt