CRUNCHTOWN
Crunchtown is a non-hierarchical theater collective based in New Orleans. For nearly a decade we’ve created shows at lightning speed with little money: the shows are produced from beginning to end in a month, which includes even deciding what, where and how we're performing. Each piece showcases the brilliant talents of everyday New Orleanians, with ensembles encompassing around 75 amateurs and professionals. We’ve pulled off amazing feats as a collective that values accountability, mutual respect, deep care, high intensity and absurd creativity. Any money we make pays back the little we’ve spent on the production, and the proceeds are all donated to local organizations doing the on-the-ground social justice work (such as Take em Down Nola, Queer Youth Ensemble, Women With A Vision, Familias Unidas, etc.)
Crunchtown Returns to Oz, 2018
In keeping with our desire to showcase performance in spaces of liminality, this work was staged in and around an auto body shop that would become an art space. When we adapt works for Crunchtown, we completely overhaul the narrative to reflect our queer New Orleans ethic and ideals and to explore problematic aspects of the original text. For instance, we did not want to conceal or celebrate L. Frank Baum's disavowal of indigenous peoples and so made the Stone King the play's hero as opposed to his original written role as foe, among other narrative changes, with explanations in the program. I adapted the script, directed, produced, cast, built sets for, and performed in this show. The proceeds from this performance went to women fighting the Dakota Access Pipeline and sex workers affected and endangered by SOSTA/FESTA.
Marat/Sade, 2017
Each piece, since I co-founded the collective in 2009, showcases the brilliant talents of everyday New Orleanians within its large ensemble. It is created at lightning speed with little money: the shows are produced from beginning to end in a month (which includes even deciding what, where, and how we're performing). The money earned reimburses for sets and costumes, and net profit is donated to local organizations doing the on-the-ground work of ideas and action presented in the performance (the profits from Marat/Sade were given to Take ‘Em Down NOLA, the activist organization that dismantles “all symbols of white supremacy,” including the various statues and monuments around the city that were removed after their various actions).
Cops for Crops, 2015
Crunchtown’s adaptation of The Wicker Man. I have learned the fine balance of leading a large ensemble, giving equal weight to strategy and patience, personal vision and trust, and complete submission to the process. Working with such large ensembles, I must be detailed in my desires, communicate them clearly, and provide space for others to thrive. This photo depicts the finale of the roving play, which took place on New Orleans' ninth ward levee. With the profits from this performance we supported a local family in need of financial assistance due to unforeseen medical bills.
Endless Supper: An Exquisite Course
Crunchtown in Quarantimes Meets the Internet