Grand Rounds
Choreographed and Directed by Tamar Rogoff
World Premiere
In the 1950s world of Grand Rounds, a 10-year-old inspired by the adventures of Cherry Ames, nurse and amateur sleuth, turns her perceptive gaze on the rituals of family life. What goes on behind closed doors and on the radio is fodder for her scientific reckonings. Rogoff invites audiences to sit bedsides to share the intimacy that propels her protagonist on a rescue mission of her own. The action takes place in and around six beds, in open spaces, on a hospital floor, in a graveyard, and in the imagination of this curious child. With an ensemble of differently-abled performers, Rogoff charts a journey through life’s passages, widening our circle of connection and understanding.
Performed by: Graham Bridgeman, Cyndy Gilbertson, Glen Heroy, Ted Johnson, Nitzan Mager, Merri Milwe, Emily Pope, Cadence Rotarius, Peter Selwyn, Aurelia Suchilt, Berenice Suchilt, Morgan Sullivan, Jake Szczypek
Costume/Set Design: Joanne Howard, assisted by Nora Marlow Smith
Costume Fabrication: Janet Devoe, Aurelia Suchilt and Evi Blaikie
Dramaturg: Janice Paran
Lighting Design: Joe Levasseur
Sound Design/Original Music: Steve Brush
Project Manager: Karl Cooney
Tamar Rogoff Performance Projects produces dance/theater and documentary films. The latest, Enter The Faun, will air on PBS on America Reframed on March 28th. Rogoff also acts as a movement coach for film. She coached Claire Danes in HBO’s Emmy award winning movie Temple Grandin and lead actor Thomas Horn in the film Extremely Loud and Incredibly Close.
Choreographer Tamar Rogoff Mounts an Immersive Survey of Lives in Extremis by Elizabeth Zimmer
Taram Rogoff’s GRAND ROUNDS Comes to La MaMa This Spring
Family life, fantasy life: Tamar Rogoff at La MaMa
“A sensitive and tactful director-choreographer, Rogoff aims for an expansion of empathy, often in domestic tales set in a deceptively innocent past.” – The New Yorker
“Rogoff, whose powerful Enter the Faun recently aired on PBS, gives her audience permission to be voyeurs, seating them in the midst of the action so they can develop “body empathy” with her cast and their range of different experiences” – Elizabeth Zimmer, The Village Voice