Landline
Two audience-players in two different cities are paired by text messaging as “scene partners.” Accompanied by synchronized audio narration, the two drift in parallel through their respective cities.
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Production Credits
Created by: Adrienne Wong and Dustin Harvey In collaboration with: National Arts Centre Production History
UNO Fest/Halifax Fringe Festival: Victoria-Halifax, 17-19 May 2018
Nakai Theatre/The Imperial Theatre: Whitehorse-Saint John, 15-17 September 2017 SummerWorks/Hamilton Fringe: Toronto-Hamilton, 11-12 August 2017 High Performance Rodeo/RCA Theatre: Calgary-St. John's, 24-28 January 2017 Magnetic North Festival/Arts Court: Whitehorse-Ottawa, 11-12 June 2016 OFFTA/Contemporary Aboriginal Scene: Montréal-Mashteuiatsh & Wendake, 4-5 June 2016 MT Space's Impact Festival/Micro Performance Series: Kitchener-Vancouver, 23-27 September 2015 Forest Fringe/LÓKAL International Theatre Festival: Edinburgh-Reykjavik, 25-30 August 2015 Zuppa Theatre/Experimentica Festival: Halifax-Cardiff, 7-9 November 2014 Prismatic Festival/Arts Court and STO Union: Ottawa-Dartmouth, 21-24 August 2014 City of Halifax's Public Art Program (prototype): Halifax-Vancouver, September 2013 |
Photo source: xosecret.org
Photo credit: Mel Hattie. Photo source: xosecret.org
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Read more in PLAY: Dramaturgies of Participation: DRIFT, SECRET WEIRDOS, ASYMMETRY, ONTOLOGICAL DUALITY
Press
“A curious exposure to the feeling of being alone together” -Audience participant, October 2013
“This is the kind of interactive performance that takes ‘audience participation’ to a whole new level where everything that you can take out of it is entirely dependent on what you put into it” - Mooney on Theatre
“This is the kind of interactive performance that takes ‘audience participation’ to a whole new level where everything that you can take out of it is entirely dependent on what you put into it” - Mooney on Theatre
Articles
Adrienne Wong and Dustin Harvey, “Landline: Halifax to Vancouver,” Canadian Theatre Review 159 (Summer 2014): 68-80.
Adrienne Wong, “Sound Immersion,” Canadian Theatre Review 173 (Winter 2018): 48-52.
Adrienne Wong, “Sound Immersion,” Canadian Theatre Review 173 (Winter 2018): 48-52.
Photo credit: Mel Hattie. Photo source: cbc.ca