Mission Drift London Press

In June 2013, the TEAM took Mission Drift across the pond to The Shed, the National Theatre’s temporary theatrical space on the South Bank in London, where it was met with great enthusiasm and positive reviews. Check out what the London press had to say about Mission Drift and the TEAM:

“A theatrical tornado, and a sideways glimpse into America’s tarnished, weary soul.”

The Guardian

The Guardian’s Lyn Gardner also gave us this fantastic tweet immediately after the performance

Mission Drift @NationalTheatre is a thing of fierce skittering beauty, skewering capitalist expansion through story of desert mirage. #stage

“It’s thrilling, it’s explosive, it burns with the heat of flashing neon and sun-soaked desert sand.This is unapologetically exciting theatre.”

Exeunt Magazine

“American capitalism really is a mindfuck of a subject, and if you’re going to attempt to address its entire history in a couple of hours then you really need a mindfuck of a play…Mission Drift is a whirlwind of song and sound and surreal vignettes that conveys the dizzying mania of America’s rise with an energy that’s part sickening, part exhilarating.”

Time Out London

“Intelligent or indulgent, bold or bewildering? It’s probably all of them at times. The dizzying theatrical bravura of the piece, however, keeps you fascinated and on edge throughout.”

Mark Shenton, The Stage

A “ mesmerizing drift through the legend of the American ‘frontier’.”

Evening Standard

“A raunchy roster of songs that twist and subvert the diamante-studded Vegas vibe.”

The Independent 

“A riotous and wickedly enjoyable fable of the creation and destruction of the American Dream in Las Vegas.”

What’s On Stage

“Mission Drift gets under the skin of American capitalism, while dazzling with its expansive ambition. With this pulsing piece the TEAM has given the capital its most politically potent musical since London Road.”

National Theatre Review

“This is fiercely intelligent stuff.”

New Statesman





it’s a really exciting time for the TEAM in terms of internal development as we begin to experiment + grow administratively via the guidance of Creative Capital. as recipients of this adventurous investment, we are endeavoring as a Petri Dish, the four of us who rep the company convening every two weeks to architect infrastructure to take better care of the company – as an entity and its individual members

Creative Capital is an incredible resource, of consultants, financial and technical experts, professionals, and risk takers, but one of the aspects I’ve found most life changing about it is the encouragement to s l o w d o w w w n n, to re e val u ate, to take a personal inventory and to prioritize quality of life over appetite to accelerate. because success comes w a cost, and it is at a personal expense if not balanced w real LIFE goals, like paying bills + making art w an enjoyable process + seeing family + traveling ETC

it’s definitely a new phase for us + a hearty one


The Creative Capital Grant in the WSJ

We are so thrilled to be among this year’s class of Creative Capital grants! It is one of the coolest grants around, providing not just financial support for artists, but, well, creative support as well.

There was a terrific article in the Wall Street Journal today about the 2013 grantees entitled Where Good Ideas Go To Live which describes the grant as a “local venture-capital fund for the avant-garde.”

In case you get stuck at the WSJ firewall (although we just googled “creative capital wall street journal”, found a link to the article and got right in…), here are some salient features of our exciting new grantors:

Ruby Lerner, executive director of the organization…rejected the standard nonprofit model of “here’s a check, send us a report.” Instead, there’s a longer-term commitment, for up to five years, and an emphasis, she said, on “what will make someone stronger when they leave us than when they came in.”

The organization has been shaking up the nonprofit arts field since 1999, when it was launched in the aftermath of the decade’s culture wars as an experiment by Arch Gillies, then-president of the Andy Warhol Foundation, whose support abides in a 10-year matching grant of $1.5 million a year.


This year saw 2,700 proposals in three disciplines—performing arts, emerging fields and literature—whittled down to 700, then 216, before 46 projects (involving 66 artists) were approved by a final panel.

So, again, we could not be more thrilled. With this grant, Rachel, Jess, Libby, and Matty will be able to delve deeper into our next big show, PRIMER FOR A FAILED SUPERPOWER, on which we began development last summer in a residency at the National Theatre Studio in London and early in-progress presentation at the EIF.

Here’s a list of the whole group of grantees. Here’s one described in the article that sounds wild and exciting:

“You Are It”, by Williamsburg choreographer Arturo Vidich and machinist Daniel Wendlek, proposes a performance, inspired by the schoolyard game Tag, for 3,000 dancers and a human-powered hybrid electric airplane, staged on an abandoned runaway in Long Island.

Oh, the awesome company we keep. Here’s to a human-powered and amazing 2013!

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A note from our assistant director, end of year in the TEAM room

I’ve been lucky enough to spend pretty much the entire month of December with the TEAM. I couldn’t think of a better way to close out 2012. For me, the past few weeks have been a matter of juggling my involvement in two of the TEAM’s long term projects, Primer For a Failed Superpower and RoosevElvis.

This weekend, we closed a workshop of the TEAM’s Primer for a Failed Superpower, for which I was the stage manager. This incarnation of the show, however, was performed not by members of the TEAM, but by a group of kick-ass students at NYU’s Playwrights Horizons Theater School. Pieced together by duct tape and hardcore angst, the show ranged from a punk concert to a boxing match. The show sang with youthful abandon and stung with a sharp edge.

The freshness and vitality of this show was undeniable. Written by the group of third and fourth year students who were also its performers, the show exemplified a rich and sophisticated reckoning with the ethos of their generation. Quite simply, they effected an explosive performance, which truly serves as evidence of the unflappable hope and resilience of this generation. As an alumnus of PHTS, it was exciting to see this kind of work happening in my alma mater.

Very recently I went back into rehearsals for RoosevElvis, rehearsing at the TEAM’s space at ART NY. This show, for which I am the assistant director, centers on two of our country’s most worshipped paragons: Theodore Roosevelt and Elvis Presley. Among other things, it focuses on their iconic masculinity, on gendered and sexualized power dynamics, on greatness, and on the formation of a national hero.

With rehearsal topics ranging from tabloid accounts of Elvis’s sex life to Queer theory and discourse, from swinging pelvises to body suits with bound breasts, this week is already proving to be productive, surprising, and as momentous as these two male icons themselves. Kristen and Libby have continued to hit it out of the park, writing on their feet (or at the table) to compose material that plumbs the complexities of these two men and which complicates biographies often presented as singular narratives.

In this week of rehearsal, we’ve met a whole slew of new characters. Kristen, who plays Roosevelt, recently introduced us to John Muir, a renowned American naturalist who was one of Teddy’s closest and most influential friends. Kristen also at times plays Alice, Teddy’s first wife, who appears in chilling, dream-like capitulations of Teddy’s own desire and vulnerability. Libby, playing Elvis, has channeled new characters such as Priscilla Presley – Elvis’s first wife, and several fourteen year-old female characters – who occupied Elvis’s perverse sexual fascination. Additionally, Libby has continued to helm the character of Ann, a genderqueer slaughterhouse worker who invokes Elvis in the privacy of her own home.

And as I watch Kristin and Libby work with Rachel, Jake, and the rest of the team to carve out these narratives, it is apparent that the more light we are able to shed on these characters, the more any sense of definite border, clarity, or boundary seems to blur. That the once monolithic, fixed, masculine identities of both of these characters begin to melt, reducing a polarized view of power and gender to a utopian soup of fluidity and freedom. Teddy is both the body he built and the men who built him. Elvis is not simply man, but he is the multitudes of women he desired, the mother who loved him, and the woman, Libby King, who is embodying him for this performance. These monolithic men subsume contradiction, and become more than they are.

Truly, these guys are bigger than we ever could’ve guessed.

The TEAM Needs You…

…To answer a few questions.

In the history of great question askers, Det. Columbo, that student that’s always hanging out with Socrates, The Sphinx, we at the The TEAM have come up with 3 quick, down and dirty questions that will help us in our quest to bring our shows to audiences and bring audiences to our shows. The only thing we need now is for you to answer them. And we really, really do need you.

If you have five minutes, fill out this survey. If you have 10 minutes, you could be extra thoughtful. If you have 15 minutes, you could spend 10 on the survey and then take 5 just for you. You earned it. And to sweeten the pot, by filling this out you could win a pair of tickets to our next rockin’ NYC benefit .

Thank you!



Columbo Sphinx: best questioner ever.

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Occasional Green Room Gifts, and Other Perks of Aging

The TEAM is a lot older than we used to be. Time makes that true for everything, but it doesn’t make it less poignant.

When we started work on A Thousand Natural Shocks in 2005, we rehearsed at 10AM in the basement of a bar. It was sticky and dark and smelled the way a bar does when you are sober. We played the young people of Hamlet, inheriting a world of our fathers. We were still young enough to be precocious. I went to rehearse from 10-3, waited tables from 4-12, made enough to scrape by, and woke up ready for more.

We’ve grown up now. It’s not a bad thing. Time’s got to do its job, and all things must change. We pay ourselves now. We have proud accomplishments, but in our 30s we can no longer be the new babies on the block. We have things like an office and a board of directors now. Occasionally there are presents in our green rooms.

The TEAM has never been ironic, so it is with awkward honesty that I point out that our new show is about youth. Adolescence. Primer For a Failed Superpower is us writing a love letter to our children about what it was like to grow up with America as a Superpower. We are no longer exploring our own inheritance, but now preparing to give.

We spent two weeks this summer in London, at The National Theatre Studios. We picked up instruments for the first time and with great pride learned to play one song together. We explored ideas about parenting people and countries, honoring the past, constructing the present, and creating new forms in which to share our work. It was one the best experiences I’ve ever had with the company. I felt how sincerely we had grown in generosity of spirit and mind. I saw the incredible new work we were making, constantly striving to break into new forms and ideas.

And I mean, c’mon: I got paid to play pretend with my friends in a land across the ocean for a few weeks – what could be better?

We made some cool stuff, we showed it in Edinburgh, they gave us International Festival Whiskey in the greenroom. Now we’re going to show it here, in our home borough of Brooklyn. We’ve got 45 minutes of raw material we want to show you. We want to hear what you think: what images stick with you, what forms excite you. We want to know if you think what we think is exciting. We want to play our Fugazi cover for you. It’s a casual vibe, and there will be beer. Come join us:


Primer For a Failed Superpower – work in progress showing

Saturday October 20th, doors at 8, show at 8:30

At Jack: 505 ½ Waverly Ave, Brooklyn

Hang out afterwards.



Kristen and LIbby during band practice in Edinburgh, August, 2012


Brian, Kristen, Jess, and Jill during performance of A Thousand Natural Shocks, 2006

These Foolish Games

The TEAM. We Play Games.

As a company we have traveled to 5 different countries (Canada, Ireland, The U.K., Portugal, Austria) to perform or develop work, as well as spending many weeks in various cities all over America. While we’re away from home and not rehearsing, teching, performing, seeing other shows in the festival, in production meetings, or getting lost on foreign streets, we often wind up blowing off our collective steam around a late night table and a game of some sort, cementing our reputation as the funnest company in the world. Here is a quick guide to games the TEAM plays, in case you ever stumble upon us in the back of a pub or the club car of a train and want to join in the fun.

The Settlers of Catan

Sharks. Catan sharks.

This game is the s***. No two ways about it. Originally brought to the company by Kristen Sieh, this game has been the source of tears of laughter and tears of rage since the TEAM began. We all have personalities that surface precisely between the time the island (board) is set up and the time the final road piece is put away, and they tend toward the creatively cut throat.

Settlers combines the capitalist fervor of trade and accumulation of Monopoly with the pathological need to control territory of Risk, creating an environment where a player fosters relationships with other players in order to effectively choke them out of the game in turns to come, all while spreading their personal civilizations across the island of Catan. And because it is a German board game there are lots of rules, though in between the rules there is enormous room for creative game play and deception.

One game can easily take three hours or more, so we try to begin our games before 11pm, although sometimes you just gotta play even if it’s late.


I recently described Euchre to an observer as a game mainly popular amongst midwesterners and the elderly. I was corrected by Frank, who specified it is really the midwestern elderly. No less fun.

Euchre is a card game that played with only the 9 through ace of each suit. When trump is announced, the jack of the trump suit becomes the highest card, followed by the off-suit jack, then the ace, king, and so on. The other suits maintain their usual card hierarchy with aces on top. Also, the off-suit jack sheds it’s original suit and temporarily becomes the suit of trump. Trump is reselected every hand. Perfectly straightforward.

It is a fast paced game that consists mainly of trash-talking and deal-stealing. No set up time, no break down time. Great for killing a few minutes with three friends.


A classic card game many of us had played, but brought to the TEAM in a formal capacity by Ian Lassiter during our Las Vegas residency in 2010. There are enough minor variations in game play and ways to mess up that everyone is always on their toes, ready to call out the mistakes of others.

Wii Bowling and Tennis

Another product of our Vegas time. Many of us made it to PRO status in one or both of these games. Unlike most of our other games, this would function as an early morning, pre-rehearsal warm up as often as an end-of-day wind-down. Once we discovered that you could achieve a sparkling, glittery bowling ball, everyone wanted one. And the only way to gain points in tennis was to play cooperatively as doubles partners (instead of head-to-head), so the average number of high fives conducted at the TEAM house rose dramatically over this period.

Actual Bowling and Tennis

Emotions run high during an evening at the lanes.

The rapid rise to professional status as virtual bowlers led us to some abortive attempts at actual bowling. Our scores were low, but the joy ran high. As for Tennis, Libby and I seem to be the only ones who play in real life, and we are great at it. Coincidentally both of us have made it to finals of Wimbledon but neither of us have won. Something to strive for, I guess.


Most of us were tutored, personally, on how to play Blackjack by Max Rubin, world class blackjack player, card-counter, and bon vivant. With all the knowledge that he gave us, and the practicing we’ve done since then, we are all equipped to go to any casino in America, sit at any blackjack table, and lose all of our money about 40% slower than we would have otherwise. Although I am certainly always game for some additional study.

Suggestions for games we should try out while we’re abroad? Shout ’em out!




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Rockers and Saints

Old dogs learning new tricks.

Several of us in the TEAM are practicing punk songs on our new instruments (guitars, so far, of various ilks). Rachel had mentioned spending an hour reading about the deaths of various rock stars, too young and too sad. Days prior, Kristen had said after watching a documentary on the post-core punk band Fugazi that she found frontman Ian Mackaye to have something of a Jesus-y quality, filled as he was with anger about the corruption he perceived in the world, but preaching (and practicing) a life of love and embracing others no matter our differences.

This all got me thinking. So here I present to you a little chart of the gruesome, too young deaths of people who led amazing lives, gave their all for what they believed in, and who still inspire men and women around the globe to this day. Intensely charismatic personalities, many of whom died away from home while spreading their message to the masses. The circumstances of their deaths are often poorly recorded and in dispute amongst the loyal followers. Rock Stars and Catholic Saints.

Kurt Cobain – Lead singer and songwriter for seminal 90’s band, Nirvana. Shot himself in the head with a shotgun. Member of the 27 Club.

St. Peter – Credited with founding the Catholic Church. Crucified upside down because he did not feel worthy enough to die in the same orientation as Jesus.

Buddy Holly – Died in a plane crash on February 3, 1959, taking all of music with him. He was 22 years old.

St. Thomas – “The doubter”, Thomas overcame his doubts and took his strengthened faith all the way to India, where he was rewarded with spears and fire.

Janis Joplin – Died of a heroine overdose at the age of 27, eerily hot on the heels of Jimi Hendrix, also 27, who died 16 days prior after taking a lot of sleeping pills and drowning in his own vomit. Joplin came in at number 28 in Rolling Stone‘s list of greatest singers of all time, and Hendrix was voted the top guitar player of all guitar players by the same magazine.

St. Paul – Tortured and beheaded by the Roman emperor Nero. Popularized the fad of “letter writing” that would last nearly two thousand years until the invention of the internet.

Elvis Presley – Contrary to popular belief, Elvis did not die on the toilet. He died on the bathroom floor next to the toilet. The autopsy showed a horrific cocktail of ten different prescription drugs in his system. His legacy lives on in countless impersonators, and in the entire city of Las Vegas.

James the Just – Jesus’ brother. He was thrown out of a high window of the temple in Jerusalem, survived, and then beaten to death with a club.

Michael Hutchence – Lead singer for INXS. Committed suicide in a way that very much resembled autoerotic asphyxiation.

St. Antipas – This one’s a bit complex. He was set inside a bronze sculpture of a bull and sealed in. Then a fire was lit beneath the bull sculpture that heated the metal so that St. Antipas was roasted. Maybe not complex, but needlessly ornate.

Sid Vicious – Overdosed on heroin after a really rough year. He was accused of murdering his girlfriend, did time in prison (for fighting with Patti Smith’s brother) and a mental hospital, and got clean from heroin. The heroin he OD’ed on had been a gift from his mother the day after he posted bail from Riker’s.

So as we practice our guitars and our irresistibly charismatic showmanship and messaging, we will be careful to avoid the fates of our predecessors. It is a dangerous world out there for idols.

Updates from the Bad/Grace/Land

I’m writing from the Apple store where they’re helping me organize my 105,000+ emails that I’ve never deleted or organized. Unsure what people mean when they say “archive”…

This morn we were back in rehearsals for RoosevElvis, our new duet featuring Libby and Kristen as Elvis and Theodore Roosevelt, respectively. We’re preparing to head to London on Saturday where we’ll be presenting a workshop of the evolving piece for SUPER early feedback. This process is always an awesome and painful one. We have spent a total of 2 weeks working on this, plus the hours each of us spends outside of the room doing research, and trying to fill our brains with ammunition to use on each other. On the plane to Seattle last week I watched Viva Las Vegas (nothing tops that Ann-Margaret dance – so so oh so weird), I’ve been reading Edmund Morris’ extraordinary trilogy about Teddy, found Libby a really good Elvis tee-shirt in Vancouver (overpriced and oh so worth it).

You can’t really be an open vessel in this process. And you also fill up REALLY fast. So two weeks into this. And btw this was a work that really started as two solo performances for these two ladies, and then I was describing them to Taylor Mac, and he grouped them together with a smile and said, “Two women in fatsuits.” And then there was one. And clearly Elvis and Teddy are two American MEN, both large (at later points in life), both famous, KINGS of their worlds. But honestly it was hard to say beyond that why these two.

And yet as is often the case, what’s mushy in the abstract gets grounded and explodes quickly in the rehearsal room. It’s why the vast majority of the TEAM’s resources go towards time together. Teddy in Kristen’s artistry begins to form as this invincible, conniving, brilliant, irrepresable nature freak who wants to both worship and kill and own all he sees – part imperialist, part rapturous young man, part prudish Victorian idealist. Libby brought her interest in this country’s mass food production (meat plants, corn subsidies, omnivores’ dilemmas), her love for the radio and the culture of listening to radio, and it’s all doubling up to form this dense, emotional knot of Elvis/Elivs obsessed/constipation/trans/lost-and-found beauty. Jake Margolin – whose excitingly working as Associate Director on this (in addition to performing in 2 other shows) as the TEAM keeps growing and shifting in a heartfelt (if occasionally clumsy!) attempt to serve our growing and shifting company members – is doing some fucking amazing writing. And I’m finding layers I never expected as I think about Teddy as this awe-some and frightening epitome of conservative male imagery, and Elvis as this hybrid-being (his music co-opted, stole from, and blended race; his whole being blended the sexes and helped blow up this absurd idea of binary gender structures) that scared the shit out of the dominant culture…

Likely little or none of this will yet be articulate or present in the workshop we present in London next week at the Almeida. But the hunches keep us going. And I’m excited for this journey (which is gonna take us to the Badlands, Graceland, and hopefully lots of motels in between).


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