Clickable, The Art of Persuasion
Lawler + Fadoul have been performing their project Clickable for live audience over the past few years. In 2019, we will bring that experience into your home, with the release of a downloadable album. (Watch this space for updates!)
To whet your appetite, enjoy this video of Power Money Fame Sex.
Full description: A theatrical concert for flute and percussion, incorporating custom- made commercial jingles, lullabies, protest songs, and dust jacket texts as well as new work from American composers Ralph Farris, Katherine Hoover and Adam Silverman, Canadian composer Jason Nett, hip-hop poet Liza Jessie Peterson and choreographer Barbie Diewald. This timely program blurs the line between high art and pop culture, with sing-along elements merging seamlessly with abstract art and instrumental virtuosity. Directed by Rachel Peake, and performed with Paul J. Fadoul, percussion.
Like Dancing About Architecture
A one-woman show exploring the relationships between time, space, music and the structures we build to make sense of the world. Created in collaboration with multiple composer- choreographer pairs, each movement includes a different architectural element. The first is TimeFrame: Luciano Berio’s Sequenza (a seminal piece of modern music), choreographed by Neil Parsons, in which Lawler plays this complex and compelling work all the while dancing in and with a frame on wheels, liberating her to daring feats of balance and speed. The second movement, commissioned from choreographer Melissa Riker and composer Jessica Meyer, uses a loop pedal to expand the sound palette. In development.
The Flute on its Feet
A virtuoso tour de force of solos and duos (performed with choreographer/dancer Neil Parsons), fully integrating music, dance and poetry. Haiku by Japanese master Basho, poetry by Rumi, classics of the flute repertoire by Varèse and Debussy, new music by American composers Lowell Liebermann and Katherine Hoover all combined with stunning choreography by Parsons and Lawler. Sure to delight all audiences.