Original music by Brent Lord for an 80 minute modern dance theatre piece about one man’s turnaround thru a visit to life’s emotional playground. Created by Platforms co-choreographer and former Fosse dancer Jeff Shade. The world premiere was December 4-6, 2008 at Manhattan Movement and Arts Center. Proceeds went to benefit two suicide prevention hotlines, The Nine Line and The Trevor Project.
Original dance musical with music by Brent Lord for the 2007 “Born at NYMF” commission. Winner of Peter Filichia’s 2007 Talkin’ Broadway Summer Theatre Festival “Wild Card” citation and the NYMF “Excellence in Choreography” award. Starring Tony nominees Deborah Yates and Ted Levy, co-conceived by director Holly-Anne Ruggiero and bookwriter Delaney Britt Brewer. Choreographed by Ron De Jesus, Linda Goodrich, Jeff Shade, Nick Kenkel, and Matt Wiliams. World premiered at The Theatre at St. Clements, NYC — Oct 2-6, 2007.
It is rush hour on a crowded subway platform — “the one place in New York where you will find every social class”, including a conspicuously out-of-place tourist couple from the Midwest (Evening Rush Hour – The Platform, 5pm). Jasper, a rhythm-tapping street performer has just teamed up with a bucket drummer after vying for the same playing space (Jasper on the Platform). A train arrives and in the confusion, Doug is separated from his wife Nancy. Instead of returning to find her, he takes the opportunity to venture out into the night alone.
Later at a park, Doug encounters personalities curious to this midwesterner and finds himself on one side of a (tap) battle (Chess – Doug in a park, later). Another lurker, party-promoter Sammy, confronts his demons when his dealer finds him alone (Sammy’s Confrontation) while elsewhere in the park, Nancy explores new worlds and sensations, only to attract the wrong kind of attention (Nancy – In the same park). When Doug overhears troubling things (Little Bags), he and a stranger fight off two thugs in the park (Merengue). Both Doug and Nancy eventually find their separate ways back to The Platform. But rowdy late night passengers — and the tempting intrigue of Sammy’s party fliers — distract them from seeing each other. Once again they get on different trains (Near Misses – The Platform, 10pm).
In the alley behind a Times Square nightclub, A Club Owner greets Heidi as she walks in the back door and somewhat reluctantly transforms out of her day-job business attire and into her nighttime persona (Heidi – A Times Square nightclub). John, a visible public figure, finds some solitude with his flask in a dark corner outside the club, when Eva — who is definitely more than she seems — interrupts (John and Eva – Outside the nightclub). All types descend on the nightclub, including Doug and Nancy — each having found their way to The Club from Sammy’s flyers. Doug and Heidi lock eyes across the club, having noticed each other in very different circumstances on The Platform earlier in the night. They, along with other clubgoers — eventually joined by John and Eva — explore uncharted territories with their partners (Tango – Inside the nightclub). Things heat up as the night drags on. Heidi and John bump in to each other, and their secret double-lives are revealed. Nancy and Doug might have seen each other, yet they allow their charade to continue (3am – Inside the club).
A few hours later, it is morning Rush hour on The Platform. Those still out from the night before and others just starting their day intermingle. A tentative Nancy and Doug find each other there and head home, self-aware of having had separate nights of “freedom” (Morning Rush Hour – The Platform, 8am).