As we do, we turned to our ensemble of collaborators to share thoughts on what this process is for them. We want to emphasize here that, while Detour provides the con- tainer and structure for the work to happen, the real cul- ture and impact that the ensemble feels is something that each of them has co-created. It comes from the openness, care and trust that each of them bring to the process. It is a daily choice to show up like this, in the same ways we want to be held and listened to: “I felt trusted, valued, and challenged. Working quickly, not questioning first impulses, and assigning a seeming- ly-random site for a performance module puts me in a sexy place to be creative… Then using prompts and ran- domization, let each performer build and inhabit their own dossier of character, born out of their performance strengths. It was all very mathematically orchestrated in its construction. And it worked. It challenged me to let go of my usual rehearse/refine/perfect performance style and live in a react/respond/breathe mindset.” —KEVIN CLARKE “For me, the most important part of theater and perfor- mance is the communal experience…In a Detour show, it feels like... I happen to be in the role of glittery per- former, and you happen to be in the role of audience member, but we can also feel that we are human animals in a small space together. Ensemble created work is so hard and gratifying. Sometimes you’re just dancing with a mop around in a room by yourself wondering what the fuck you’re doing. Sometimes you’re all fumbling around together trying to figure something out. What is this thing? You live together in the unknown. And you miracu- lously do SOMETHING even when you don’t know what you’re doing. You keep reminding yourself to trust. You find ways to pour some essential part of yourself into this crazy vessel and share it.” —ERIN MEI-LING STUART “The ensemble nature of these devised pieces means I have a wealth of artistic knowledge to draw upon from a diversity of talent who are mutually invested in each other’s success, growth, and caliber of the collective per- formance. What’s more is Detour’s radical commitment to collective access principles, inviting in access checks at each rehearsal and providing accessibility support for performers and audience alike. This praxis subverts the antiquated notion that only disabled people’s body/minds have needs, which is refreshing and healing to feel the pressure taken off me as a disabled person to proactively
self-advocate to ensure my (and people in my communi- ties) experiences will be considered in the production.” —ALEX LOCUST
Flyaway Productions & the Tenderloin Museum present ODE TO JANE
“My experience with Detour is one of care and having the performers’ backs… which is something I have never experienced before. Putting the performers well-being to the front of the conversation really helped me take care of myself and gave me the ability to put my best perfor- mance forward.” —LISA FRANKENSTEIN “My experiences with Detour’s ensemble-devised/immer- sive theatrical productions have been nothing short of healing. The combination of the process of collective con- sciousness, personal expression, and integral skill sets is what has set my experience with this production team apart from anything I’ve ever done before.” —MUDD THE TWO SPIRIT “Working with Detour makes me think of... permissions, being summoned to create with my whole self. A place where I am treated with love and respect in my messiest states. Alchemize the fraught and chaotic experience of discovery into something I can learn from and look upon with compassion.” —QUINN DIXON ERIC GARCIA is a San Francisco-based devised dance-theater artist, drag queen, community organizer, and the Co-Director of Detour. He creates immersive and site-responsive performances that straddle nostalgia, radical futurism, collaborative ensembles, and queer maximalism. He has worked with men in detention, senior adults, trans and queer youth, drag performers, and self-identified non-dancers on various dance films and live performance projects. Eric is rooted in the queer nightlife and drag performance scene as Churro Nomi, and produces/hosts Clutch The Pearls, a drag cabaret on the first Sunday of every month at Make-Out Room in the Mission District. Since 2010, Eric proudly serves as Managing Director for both Fresh Meat Productions and the SF Transgender Film Festival. KAT GOROSPE COLE is a Bay-Area based director and producer working in film and live performance. She formerly served as Development Manager and later Program Manager for CounterPulse, and has worked in produc- tion and arts management for several other Bay Area arts organizations. They have worked as an Associate Producer for Academy and Emmy-win- ning directors Rob Epstein and Jeffrey Friedman, and was the Associate Producer for Boots Riley’s I‘M A VIRGO. Her short films have screened in over 25 festivals including Hot Docs, NewFest, CAAMfest, Los Angeles Asian Pacific American Film Festival, New Orleans Film Festival and Out- fest. She was awarded Best Bay Area Director from the Coven Film Festival. He moonlights as the drag king Sir Acha.
What does resistance look like in the aftermath of the Supreme Court’s Dobbs decision?
DIRECTION: Jo Kreiter Choreography: Jo Kreiter in collaboration with the dancers Performers: Ai Yin Adelski, Laura Elaine Ellis, Sonsherée Giles, MaryStarr Hope, Jhia Jackson, Megan Lowe
and Saharla Vetsch Composer: Xoa Asa
WHEN: October 4 – 12, 2024
WHERE: Cadillac Hotel • 380 Eddy Street, San Francisco
TICKETS: FREE & OUTSIDE
DETAILS: www.FlyawayProductions.com
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