OH is an experimental fashion film inspired by Ophelia's maddening love for Hamlet with a modern and hallucinogenic riverb.
Poem written by Mitzi Peirone
OH - The day Ophelia took acid
Glazed In moon dust. Silver and gold. Not a whisper would slip through our sealed up holy bodies. My lips found rest on your right shoulder over and over, slid down your collar bone, up to your neck, savouring your sweat. I can feel your heart beating so clearly that I can hear it echoing in my own chest. Our breaths synchronize like they had always been one. The dirt under our fingernails, so eager to learn..!
Each muscle is discovered for the first time in the garden of Eden, every trail of blood is followed with wonder, each bone is a pure miracle.!
Everything moves around us and we stand still. I need your hands around my waist to stand straight, to let my breath flow properly. I learn every angle and curve and corner and hallow of your beautiful face like I had never seen another human before. Your fingertips pull on my earlobes, clasp my elbows, stroll down my spine slowly to embrace me as a whole; I can feel them running like water under my heart, I can feel them wrapping me like a cocoon. In an old saloon young bodies stand close. Time dissolves. Reality is far away, or too close to tell. You're covered in stardust and moonlight rains on us. Our hands radiate. We place them on each other's hearts. I beat only if you beat. You breathe only if I breathe. My palms become eyes and I see all of what you were and are and will be, and I believe It. And I adore it. There are no shadows in me, nothing you can't see; I am fully opened to you and feel no fear. You tell me you're 26 as the sun creates a halo behind your head. A blind lady with a dog blesses us. In the birds nest my hair becomes hay and you tell me to take my shoes off. The soil's gluttony. You're too much in the sun.
About Trust and Warnings
How do you decide when to trust someone? Are you able to forgive betrayal? Why do you end up hurting the ones you adore the most? Trust and Warnings is a work about love, deception, and truth. Fusing movement with text and music, four dancers share their experiences with relationships during a performance that asks what your story is and how you receive love. Explore desire, doubt, selflessness, atonement, and transformation by watching conversations unfold through painful solos, touching duets, deceptive trios, and all-consuming quartets. In an evening that delves into raw emotion and the nature of intimate human stories, the work inspires us to heal from heartache and gain understanding through pain. Trust and Warnings is a show for anyone who has ever loved.
Choreography: Sarah Horne and the Company
Performers: Sarah Horne, Jess Reidy, Marcus Schmidt, and Michele Wilson
Music compilation by Christopher Weingarten
Sarah HORNE, Artistic Director
Sarah grew up in St. Croix, USVI and founded SoHa Dance in 2011 so that she could combine her artistic passions with her interest in community development. Considering herself a “Third Culture Kid,” someone who was raised in a culture outside of their parents’ culture, her education came in many forms because of her non-traditional upbringing. Moving from country to country allowed an exposure to different movement lifestyles and has continued to inform her artistic voice. Her formal dance training started at age sixteen while living in Bangkok, Thailand and her passion for choreography began at SUNY Brockport while completing her BFA in Dance. She developed and showcased several works while a student there, establishing a deep love for the creative process. After attending Impulstanz in Vienna, Austria, she grew another love – arts administration – and started volunteering for the dance department in an administrative capacity to help coordinate their dance festivals, performances, and events. After graduating, she continued her education at NYU with a Master’s Degree in Performing Arts Administration. Sarah’s performance credits include works by Anne Burnidge, Bill Evans, Kelly Kavanaugh, Jostle, and Juanita Suarez. Sarah also holds an MA from NYU in Performing Arts Administration. Since graduating NYU in 2011, she founded SoHa Dance and works full-time at New York City Ballet.
Jessica is a freelance dancer, choreographer and NASM Certified Personal Trainer based in Brooklyn, New York. As a founding member of Treeline Dance Works, she has had the pleasure of performing at Abundance International Dance Festival (Sweden), REVERBdance Festival, Women in Dance, Current Sessions, American Dance Guild, White Wave Festival, Rebound Dance Festival, Ball State University and many festivals throughout the east coast and mid-west. She has helped Treeline DW set repertory on students of Franklin and Marshall College and has been a guest teaching artist at Glendale Community College, and Grand Canyon University (AZ). Reidy’s own work has been presented by DUMBO DANCE FESTIVAL, WAXworks, Under Exposed, Fertile Ground, Figment NYC, Middlessex University (UK), and as a guest choreographer with areadance (PA). She has also had the honor of performing in works by Mariah Maloney, James Hansen, David Dorfman, Earl Mosely, and Megan Harold among others. She is absolutely thrilled to be joining SoHa Dance on stage and in the studio.
Michele grew up dancing at several local dance studios in her hometown of Elmira, NY. Michele then went on to earn her Bachelor of Fine Arts in dance from the State University of New York, College at Brockport. During her years at Brockport and since, she has studied with artists including Wally Wolfgruber, David Dorfman, Bill Evans, Jacquie Davis, Jenn Nugent, and James Hansen. After graduation, she headed to New York City where she works and plays as a dancer and art
Kinetic Theater is the production network supporting the artistic vision of choreographer Mark Schmidt. Schmidt is a Brooklyn based performer/educator/dance maker who regularly collaborates with artists working in film animation, sound, set and fashion design. He holds a BA with a concentration in Cultural Studies from the New School for Social Research in New York and MFA in Performance and Choreography from SUNY Brockport. In addition, he is certified by the National Strength and Conditioning Association and has a private practice combining anatomical awareness, movement efficiency and resistance training. Inspired by surrealist art and the colorful dance club scene of 1990's New York, Schmidt has a strong interest in the intersection of identity and dance, exploring the personal as political. His movement aesthetic is greatly influenced by his background in modern release technique, house dance, contact improvisation and capoeira.
A SHORT DOCUMENTARY SERIES BASED ON EXPERIENCING THE PALATE, BEFORE THE TASTE.
IN THIS SERIES, WE WANT TO BRIDGE THE GAP BETWEEN THE CONSUMER AND THE CHEF/RESTAURANT. OUR VIEWERS SHOULD HAVE AN UNDERSTANDING OF WHAT EXACTLY THEY'RE GETTING THEMSELVES INTO BEFORE ACTUALLY TRYING IT.
Up until 4 years ago I was not a chef. I was not really even a cook; I was an admirer and an eater: my experience never went beyond eating in restaurants and admiring my wife’s mother, an excellent cook. Growing up in Russia I was taught that the most helpful thing a man can do in the kitchen is… get out. I was encouraged to pick a trade that would allow me to provide for a family (and cooking was certainly not considered a valid option) and ended up in a comfortable finance job. I liked my job and the lifestyle it allowed me to have. However, I kept feeling that I was missing out on my true passion. Then, one day, I picked up a knife and a pan and have not dropped them since.
I continued to work full time in my position in Accounting when I took advantage of an opportunity to study at the French Culinary Institute. I cooked, I learned and I fell in love with it. After graduation, I became a Line Cook at Park Avenue Winter working in a high pressure, fast paced team environment. I continued perfecting my technique and picking up speed.
At nights, I was beginning to experiment with modern cooking techniques. I couldn't wait to get home from the long days at the restaurant and attempt some of the wild ideas floating in my head. To my wife, I became the mad scientist. Suddenly, our kitchen was filled with powders and slowly, my wife was pushed out of the kitchen. Teaching myself modern methods has encouraged my creativity and changed my approach when it comes to creating new dishes. As I fell deeper into my art, I understood that I needed to work in a way that would allow me to create my own menus. So, on my days off from the restaurant, I would focus on building my catering company as well as doing catering events. Eventually I left Park Avenue and focused all my energy on my catering business.
I love having the ability to be creative and to design my own menus that deliver a unique experience to my clients. My goal is to bring a high end restaurant into the kitchen of all my customers while creating flavorful and beautiful-looking dishes. One day, I hope to establish a boutique restaurant that lets me share some of the love I have for food, with others in a supper club-like atmosphere.