I was unbelievably fortunate to see Andrew Dawson’s last performance in Edinburgh. It has stayed with me ever since. It is a haunting tribute to his father, who died alone in 1985. Andrew says “one of the best parts of performing ‘Absence and Presence’ is the stories I hear from members of the audience who wait for me afterward”. Andrew’s background in dance and mime have informed this visually arresting piece of theater.
Please link here for synopsis, reviews, and a video preview of Andrew’s prize winning work.
To read Anita Gates’ New York Times review of “Absence and Presence”, please click here.
“Devil’s Larder” performed by Grid Iron
Also awarded was “Devil’s Larder”, performed by the Grid Iron group. It is based on a novella by Jim Crace. Grid Iron is known for it’s site specific work, and was an Edinburgh sensation when performed in Debenham’s department store after hours. After coming to New York, the company realized that “Devil’s Larder” could not be transferred to P.S. 122, the Foundation’s producing partner. Happily, Vallejo Gantner, artistic director of P.S.122, and the Foundation are hoping to get Grid Iron to create a work specifically for New York.
ABSENCE AND PRESENCE continues to be performed around the world. It was not long ago in Zimbabwe, proving the play to be universal in its moving message.
Andrew choreographed Dr. Atomic, a modern opera about J. Robert Oppenheimer at the Metropolitan Opera House at Lincoln Center, opening in October 2008. The Wellcome Trust commissioned Andrew’s work on the hand and body, which has been seen at TED Conferences, now on YouTube.
Carol Tambor publishes a monthly newsletter, which announces worthy shows coming to New York, along with occasional information about London theatre and, of course, the Edinburgh Fringe.