We’re in the home stretch of our second full season of programming at our new permanent home (don’t miss Mallory Catlett’s DECODER: Nova Express, if you can help it!); and if I’m left with more questions than answers - which I am - it’s an exciting (though murky) pool to be wading in.
“I know this story. It’s a story I’ve loved again and again. All I know is my body moving through time. Reminding myself that I have blood pumping through me, and that has to be enough. I walk and walk to keep from standing still. I think of my pelvis sloshing around in a tangle of muscle and tendon. So tight and bound, perhaps a sprinkle of arthritis. But if I keep walking I feel that I can. And if I can, then at least I will keep moving.”
Well, we did it. We managed to get through a full season of thoughtful, rigorous, multifarious, multi-everything premiere performances at our new permanent forever home (and a few other places), for audiences comprised of living, breathing human beings in real time and space. Wow.
The Chocolate Factory's First Annual Gala! Featuring the Artist In Industry Award, Honoring: Lucy Sexton (Executive Director, New Yorkers For Culture & Arts), Yoko Shioya (Artistic Director, Japan Society) and Donovan Richards, Jr. (Queens Borough President).
If the last twelve months have taught me anything, it’s this: nothing stays the same, ever. I suspect you can relate to this, because you knew it already. Change is constant, like the weather; it just keeps coming. It’s also scary as hell, which is its own kind of constant, because change is inseparable from risk.
To celebrate the closing of our 49th Avenue space - home to The Chocolate Factory Theater since 2004 - we hosted an outdoor mini-"festival" as part of the NYC Open Culture Program.
attend the opening is a new mail art project by Seattle-based writer, performer, and interdisciplinary artist Kristen Kosmas. On the Boards (WA) and The Chocolate Factory Theater (NY) have co-commissioned Kosmas to expand her ongoing mail art project, attend the opening, in which she mails handmade collage works, unprompted, to her extended community. These works form a tactile accumulation of personal connections and a record of the shifting narrative of the global pandemic.