Dixon Place presents a Mondo Cane! Commission
THE SECRET DEATH
Written by SIBYL KEMPSON
Thursdays - Saturdays, November 3-5, 10-12, 17-19 at 7:30pm
"SEE THIS SHOW. Ben Williams and Karinne Keithley Syers's haunting sound design wraps around us, as weird nonactors (marionettes, sentient chairs, a desperately flapping crow) act out Kempson's eerie, funny prose." --Helen Shaw, Time Out New York
"...an exploration of the grotesque and the uncanny that defies logic yet stirs a primitive impulse in us... A pleasingly spine-tingling experience: half 'Rosemary's Baby' and half theater of the absurd." --Back Stage
Tickets: $15 (advance); $18 (door)
Get some insight into Sibyl's amazing imagination with her answers to 5 Questions on our tumblr blog!
The Secret Death of Puppets... is three playlets about forbidden knowledge and the nature of our uncanny relationship with the inanimate. It is also a tribute to the work of Victoria Nelson and her book,The Secret Life of Puppets. How can something die that was never alive in the first place?
SIBYL KEMPSON makes theater in NYC and the Pocono Mountains. Her work has been presented at Dixon Place, P.S. 122, Soho Rep, CATCH! Series, Austin's Fusebox Festival and Theater Bonn in Germany, and have been published by the 53rd State Press, PLAY: Journal of Plays and the Brooklyn Review. She is a MacDowell Colony Fellow, a member of New Dramatists, a four-time recipient of Dixon Place's Mondo Cané! Commission, and of individual grant support from the Greenwall Foundation. A founding member of the Joyce Cho Initiative, Kempson received her MFA in Playwriting from Brooklyn College where she studied under the instigation of Mac Wellman.
THE SECRET DEATH OF PUPPETS is commissioned and first presented by Dixon Place with public funds from the New York State Council on the Arts, a State Agency, and the City of New York Department of Cultural Affairs; and with private funds from The Jim Henson Foundation, The Peg Santvoord Foundation and The Jerome Foundation. This project is also made possible in part with support from The Greenwall Foundation and New Dramatists.