I had the opportunity to see That Night Follows Day while we were performing at the Vancouver PuSH Festival early February.   This piece is simply stunning.   The children performing were so shockingly natural, so utterly engaging and, at times, confrontational that it felt like one of the freshest, most honest pieces of theater I've ever seen.   Their unique and quirky personalities are each showcased, and you fall in love with each and every one of them.   Their ability to deliver unison text without any apparent cues for timing really left me wondering if childr

Seattle dance critic Alice Kaderlan talks up tEEth and some of the trends happening in NW dance at the moment (bonus - she also mentions OtB alumni, locust) on KUOW's Sound Focus program. Listen to what's happening in dance around Seattle starting around the 34 minute mark.

A couple weeks ago Theatre Replacement's James Long wrote to Tim Etchells (director of Forced Entertainment and writer of That Night Follows Day) to update him  on how the English version of the show was progressing. He had this to say:

Tim, TNFD is going great- we are in deep and its clearing up.

I was very intrigued at the idea of subtle gestures. The fact that the storyline wasn't too extravagant, but rather very simple, simple enough to actually mimic or imitate what the characters were "feeling." I really felt this was evident in Miffy's character. Her gestures made me see what she was feeling. -Aara Five Days in March was an experience unlike any other. It broke that bonds of what I view to be conventional theater. The actors specific movements on stage seemed involuntary and random at times.