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Getting to Know Olivia Scharff

3/15/2019

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by Nicole Harris
Dancer on wood floor Rolls on shoulders, legs in air Holding white paper
Photo by Clayton Raithel
We have been busy interviewing the artists we are working with for re{ACT} re{BUILD} re{COLLECT} at the Multicultural Arts Center.  Here is Olivia chatting about her time with the company so far!

Nicole Harris: You have been working with Sam Mullen quite regularly for almost two years.  You will be performing two duets, Connexa (choreographed by Nikki Sao Pedro-Welch and Sarah Feinberg) and Firk II (choreographed by Karen Krolak and myself) in this concert.  Can you talk about what it has been like to work with Sam?
Olivia Scharff: Working with Sam has been wonderful! From the moment we met at Musing, we both knew we were kindred spirits and would get along well. This friendship is clear when dancing with Sam because our personalities mesh and performing becomes easy. I would like to point out that Connexa is especially easy for us. It is as if Sarah and Nikki set the characters on us specifically and we have a great time bringing them to life! 
In a studio, Dancer walks on rope on ground, One arm out, one bent
Photo by Sarah Friswell Cotton
N:  When we did re{ACT} re{BUILD} re{COLLECT} in the OnStage Summer Series in July Karen created a new solo, [82], for you. Since then the piece has also been taught to one of our guest artists, Kim Holman.  Can you talk about what it was like to see a work you helped generate performed by someone else for the first time? 
OS:  I really enjoyed watching Kim perform [82] at Groton School in the beginning of February. This piece created by Karen has many different interpretations, which is what I love about it. I enjoyed how the piece had the same background and story but the journey throughout was different. It’s like if you give two children instructions to construct a house, the result you get will be a house, but the journey to create this structure will be very different!
Image of three dancers. Text: Monkeyhouse Presents React, Rebuild, Recollect. March 29-30 Multicultural Arts Center, Cambridge
You can catch Olivia at
re{ACT} re{BUILD} re{COLLECT}
on March 29-30th at the
Multicultural Arts Center in Cambridge, MA

Get your tickets today for
$5 off the door price!
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re[ACT] re[BUILD] re[COLLECT] Program

7/27/2018

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Image of three dancers. Text: Monkeyhouse & OnStage Dance Company Present React, Rebuild, Recollect. March 29-30 Multicultural Arts Center, Cambridge
Costume Design by
Karen Krolak
​unless otherwise noted

Lighting Design by Jason Ries

Special Thanks to
Impulse Dance Center,
Clayton Raithel, Catrin Evans and the Groton School Theatre Department,
​Aisha Cruse & Kelsey Griffith.

The biggest thanks goes to OnStage Dance Company for providing such an incredible opportunity to our community.  Monkeyhouse Loves You!

Photo by Olivia Blaisdell
Conglomerate (2018) *
Choreographed by Elizabeth Powers in collaboration with the dancers
Performed by Elyssa Berg, Sarah Feinberg, Nicole Harris, Caleb Howe, Samantha Mullen, and Olivia Scharff
Music by Kourosh Dini
This piece was created as a part of Monkeyhouse’s Choreography Mentorship Program and was originally presented at NACHMO Boston 2018. So many thanks to Karen Krolak and Nicole Harris for their mentorship throughout this process. Thank you to Jason Ries for mentorship in lighting and design. Special thanks to each of the performers for all of their input and trying the same prompt so many times while never producing the same outcome and to Karen Krolak for being at each rehearsal and always asking the right questions.

Ricochet (premiere)
Choreographed by Sarah Feinberg in collaboration with Elizabeth Powers
Performed by Sarah Feinberg and Elizabeth Powers
Music by Psycliq
Thank you to Monkeyhouse for providing me this opportunity to create and perform. Thank you to Karen Krolak for the mentorship you have provided throughout this choreographic process but also throughout my life. Thank you to Nicole Harris for inspiring me with your movement and creative choices during Musings. Thank you to Jason Ries for asking questions and challenging me to think about my work in new ways. Thank you to Elizabeth Powers for being a wonderful dance partner and for everything you have contributed to the choreographic process both in Musings and rehearsals.
Two dancers rehearse, One lies on ground, one stands above, In room with wood floor

Musing Prompt #46.329 (premiere)
Improvisation Prompt by Karen Krolak
Performed by Caleb Howe, Elyssa Berg, Nicole Harris, Olivia Scharff and Sam Mullen
Music by Twink the Toy Piano Band
Special Thanks to Aisha Cruse

Ukiyo (premiere)
Choreographed by Nicole Harris
Performed by Sarah Friswell Cotton, Olivia Scharff, Nicole Harris
Costumes by Nicole Harris
Special Thanks to Kelsey Griffith, Impulse Dance Center
Ukiyo (Japanese) - the “floating world”; a place of fleeting beauty and living in the moment, detached from the bothers of life.


[220] (premiere)
Choreographed by Karen Krolak in collaboration with Sam Mullen
Performed by Sam Mullen
Music by Twink the Toy Piano Band
Sam would like to thank Karen for the encouragement, freedom of expression and constant support.
​www.DictionaryofNegativeSpace.com

Two dancers, one sitting on ground, one standing. Blue light reflects on reddened floor
Photo by JK Photo
Connexa (2013)
Choreographed by Sarah Feinberg and Nikki Sao Pedro-Welch
Performed by Olivia Scharff and Samantha Mullen
Music by Drop Trio
Thank you to Monkeyhouse for the opportunity share this piece again. Thank you to Olivia Scharff and Samantha Mullen for taking this piece on with such energy and enthusiasm. It’s been a blast working on it with you two!


4 things (2018)
Choreographed by Elizabeth Powers in collaboration with the dancers
Performed by Michelle Boilard, Michela Doherty, Sarah Feinberg, and Elizabeth Powers
Music by Mystified
Costumes by Elizabeth Powers
This piece was created as part of the OnStage Dance Company Residency Program in the Spring of 2018.  Thank you to Jennifer Kuhnberg for organizing OnStage Dance Company’s Residency Program and providing the space for this work to be created.  Thank you to Karen Krolak for her always wise words of wisdom during this process.

[82] (premiere)
Choreographed by Karen Krolak in collaboration with Olivia Scarff
Performed by Olivia Scharff   
Sound Design by Karen Krolak
Special Thanks to Chris Lanier and to Olivia for being brave enough to take on this solo.
www.DictionaryofNegativeSpace.com

In a studio,  Dancer walks on rope on ground,  One arm out, one bent
Photo by Sarah Friswell Cotton

Dancer silhouette One arm and two feet planted firm Stomach to the sky
Photo by Sarah Friswell Cotton
Irradiance; In Three Parts (premiere) *
Choreographed by Elyssa Berg
Performed by Sarah Feinberg, Nicole Harris, Caleb Howe, Elizabeth Powers   
Music by Daniel Birch, Kevin MacLeod, and Mathieu Lamontagne and Emmanuel Toledo
Thank you to Monkeyhouse for the opportunity to create work and share the space with so many talented and supportive artists. Thank you to all of the artists who participated in musings to bring inspiration and insight into the direction of the work. And lastly, a special thank you to Nicole Harris, Karen Krolak, and Jason Reis for their guidance and support of working in new ways with new resources while growing as an artist.


Voetstoots (premiere)
Choreographed and Performed by Caleb Howe and Nicole Harris  
Music by Francois Couture
Sound Design by Nicole Harris
Umbrella Design by Karen Krolak
Special Thanks to Karen Krolak and Peter-John de Kock
Voetstoots (Afrikaans) - refers to something, usually sold, with all its faults and without guarantees - “As is”


* Created as part of Monkeyhouse’s Choreography Mentorship Program
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reACT reBUILD reCOLLECT Interviews - Karen Krolak

7/25/2018

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Photo by Stephanie Young
by Nicole Harris
In the last few weeks we've introduced you to new performers, guest artists and choreography mentees related to Friday's performance.  Just in case you were missing our incredible Artistic Director, Karen Krolak, we wanted to make sure you heard all about the three new pieces she has in the show.

Karen has created two new solos for Sam Mullen and Olivia Scharff as well as put together a Musing Prompt so you can see what improvisation time with Monkeyhouse can be like.  Karen has also designed costumes for the majority of the work being shown!

reACT reBUILD reCOLLECT
Friday, July 27th @ 8pm
665 Salem St, Malden, MA
Tickets available here for only $10 if you use the VIP Code MH10.  
VIP tickets are not available at the door so get yours today!

Nicole Harris: You are building two solos for this performance. 
karen Krolak: Yes, through the Musings this year, I began to explore some choreographic ideas related to The Dictionary of Negative Space: an interdisciplinary lament. 

N: Can you talk a little about what the dictionary is and how the pieces relate to it?
kK: The dictionary began as my thesis project for my MFA in Interdisciplinary Arts at Sierra Nevada College. It examines the negative space within the English language, the vast chasms of unnamed ideas related to mourning, trauma, and repair and it was inspired by the car accident that killed my mother, father, and older brother in 2012. By the time we began to plan Re act…, I had a two ideas for pieces based off of this research. 
N: You led a number of Musings around the text from MyFather’s              [1]           .              [13] Dance. It is choreographic score and it is very different from how you usually create work. Can you describe it?
kK: Hmm. It is an odd bit of text. Really, it is a list of physical instructions. I have been curious about how different people would make movement phrases based on these words. You know, some people when you say ‘Rewind’ will move backwards whereas someone else might turn around like the cog of an old cassette tape. 
 

N: How did you develop the verbs on this list?
Picture
www.DictionaryofNegativeSpace.com
kK: So, in the Dictionary of Negative Space, entries are labeled by the number in the bracket. For instance,                [1] is the place where a deceased person was last seen alive by the speaker.

​
Exactly two weeks before the accident, my father, Kwaq7aj’, and I went to see Monkeyhouse’s creation in Luminarium’s very first 24hr ChoreoFest. I decided to create a choreographic score to guide someone from the Dance Complex to the place where we said goodbye that day. When I began mapping out these activities, a little more than 5 years had already passed. 
 
Odd, I just remembered that I started working on the score after I left a showing that Luminarium presented at Green Street Studios this fall. 
 
Anyway, it was challenging to recreate exactly what happened. How long did we wait for the walk signal? Where exactly was our table when we sat down to eat? Since I did not know that this would be my last outing with my father, I did not memorize as many details as I wanted later. More importantly, I realized that I had tricked myself into thinking that this was my father’s 
               [1] because in reality both of my parent’s                [1] no longer exists.  That place was destroyed a few years after the accident. I had latched onto the goodbye from the day of ChoreoFest because my brain clearly did not want to deal with another missing thing. 
 
As I wrote out everything that was tangled up in my head, I realized that I was not writing instructions for my father’s 
               [1]. I was writing out my father’s  aaaaaaaaa[13] (n.[usually plural] activities that seem ordinary but take on new significance when they are the last moments spent with someone). I edited my thoughts down to just the verbs to emphasize those actions. 
In a studio,  Dancer walks on rope on ground,  One arm out, one bent
Photo by Sarah Friswell Cotton
N: Can you talk about what you discovered during Musings?
kK: It was fascinating to see how each person responded to the text. I remember the first time that you played with it, your work began an ended in the exact same spot over and over again. I loved how it felt as thought you became trapped in a memory loop. Elizabeth developed a phrase that just felt isolated or lost in her own mind and that was exacerbated when I asked other people to dance past her. I began to realize that the text could inspire multiple pieces without anyone in the audience feeling as though they were related. Both Sam and Olivia's solos evolved from the text but they did it in very different ways.
N: The one for Olivia Scharff was also influenced by a walk you went on in Malden Center.  Can you explain what you saw on the walk and what path the idea took once you were in the studio with Olivia?
kK: Right, I had received an email from Mobius and discovered that they were planning some dadamobile events in Boston at the Farmer’s Market on Copley Square. One of them was just a few hours after the email arrived and I had some free time. Two moments on that trip sparked an idea of how to approach this solo. 
 
First, while I was sitting near Copley over by the Finish Line for the Boston Marathon, a man approached me to use my phone. Having just recently adjusted to a new phone, I was hesitant to hand it over to a stranger. He was clearly in distress and wanted help to contact a medical clinic. I offered to call the clinic for him. As we navigated the phone tree, things got very frantic and confusing for him. He was in a treatment program for opioid addiction and had missed the time that he was supposed to contact his nurse that day. While he and I were sharing the phone in this awkward uncomfortable duet, people were just rushing by us and stepping over us. It was very similar to the feeling of Elizabeth’s phrase from that Musing.

Then on the way home from the T in Malden Center, I was behind three strings of children on walking ropes. I was still worrying about the man from Copley. Juxtaposing the security and calm of these kids making their way to the Ed Emberley Park against the man’s isolation and despair, I began to wonder about a person who realizes that they are all alone on their walking rope. Once again, I understood that I was exploring yet another entry from the dictionary but I will let people guess about which one until they come to the show. 
N: How did you approach working with Sam?
kK: Sam has not been told very much about the instructions on MyFather’s
                  [1]     .               [13] Dance 
other than that they are related to the Dictionary of Negative Space. Her choices are all very carefree and full of wonder. I wanted to see how she would experience the instructions without the weight of the backstory
.
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reAct reBuild reCollect Guest Artists -- Part I

7/9/2018

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by Nicole Harris
Three dancers in dark room. Text reads: Monkeyhouse and OnStage Dance Company Present: React, Rebuild, Recollect. March 29-30
OnStage Dance Company Summer Series
We are very excited to have several guest artists as part of reAct reBuild reCollect on July 27th at OnStage Dance Company in Malden.  We have been slowly introducing you to all of the artists participating in the concert on social media but here's a look at two specific groups of guest artists!
$10 Tickets
can be yours right now by clicking here!  Any tickets using the VIP Code MH10 not only are less expensive, but give a higher percentage of the ticket price to the artist.  (psst, that's us!)  VIP Code rates are NOT available at the door, so get yours today!

For the past year I have been honored to have three former students return to the studio to take class as adults.  It began with Olivia Scharff, who sweated out the summer with me last year at Impulse Dance Center during my adult tap class.  When September rolled around she was joined by Kelsey Griffith and Monkeyhouse alum Sarah Friswell Cotton.  Towards the end of our first ten week session these ladies approached me to ask if they could dance on the "big stage" in Impulse's end of year concert.  LuAnn (Impulse's director) was more than happy to include three Impulse alumni in her show so we got down to work and the second ten week session was dedicated to creating a piece of choreography.
The piece they performed this June was to Waving Through a Window from the Broadway show Dear Evan Hansen.  The choreography was intricate and the incredible music gave the piece body and character.  However, the music also allowed for the dancers to hide within its orchestrations.  Don't get me wrong, these ladies aren't lazy!  But the fullness of the music overpowered some of the rhythms and counterpoints they were working so hard on, so we decided to also create a version of the piece with no music at all to be part of reAct reBuild reCollect in July.
The original plan was for all four of us to perform this new tacit piece but unfortunately, Kelsey tore her ACL this spring and will not be able to join us at the performance.  However, you can still learn about the amazing things she, Sarah and Olivia are doing by clicking on their images below.  It's exciting to see how people keep dance in their lives and these three are doing some pretty incredible work.
Headshot of woman Brown hair pulled back, brown eyes, smile Wears a yellow shirt
Picture
Headshot of woman Shoulder length blonde hair, wears black Smiles at camera
I can't describe to you how much fun it was to work with these ladies again.  Teaching adults is a very different thing than teaching children or even teenagers.  I loved seeing the different ways each of them had learned how to learn in the ten years since they last took class with me.  I am impressed by their ability to see their strengths and also their weaknesses and not be afraid to ask for or offer help.  I am honored to dance with them on July 27th and continue working with them in the future!  
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