SHIP OF FOOLS, DARK CIRCUS, PROTOTYPE and More Set for HERE's 2016-17 Season

HERE has announced its 2016-2017 producing season, featuring three HERE Resident Artist world premieres, two international presentations from HERE's renowned Dream Music Puppetry Program, the fifth annual PROTOTYPE: Opera/Theatre/Now festival, and HERE's yearly CULTUREMART festival, where HERE serves up a first look at new work in process from artists in the HERE Artist Residency Program (HARP).

The multidisciplinary productions in HERE's 2016-2017 season represent the culmination of commissions and developmental residencies of up to three years through HARP, and/or the Dream Music Puppetry Program.

HERE is located at 145 Sixth Avenue, just below Spring Street. For more, visit www.here.org.

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HERE's 2016-2017 season:

Ship of Fools

October 11 - 23, 2016

A Resident Artist & Dream Music Puppetry Production by Jessica Scott

Ship of Fools is an interdisciplinary theater piece with live music, puppetry and movement that seeks to illuminate the age-old practice of pathologizing women's bodies and minds. As the audience weaves through reimagined moments in history, they're jolted by moments of jarring fantasy and provocative questions: are the inmates running the asylum? Who is actually steering the ship: citizen, celebrity, politician or madman? What happens when this ship, sailing blind, finally runs aground?

Jessica Scott is a self-taught visual artist, director, performer and teacher. Her work includes puppets, special effects, dolls, masks, installation and sculpture. In 2002, during protests of the second Iraq war, she witnessed the visually arresting performance of Bread and Puppet Theater and decided to incorporate puppetry in future political actions. Initially interested in puppetry solely as protest spectacle, she became enamored with the entire craft during an internship with artist Basil Twist. In the 10 years since, as a senior builder and designer for Basil Twist, Jessica has designed and performed in his works, including A Long Christmas Ride Home, Red Beads, La Bella Dormente nel Bosco, Symphonie Fantastique, Dogugaeshi, Hansel and Gretel, Behind the Lid, Arias with a Twist, The Addams Family on Broadway, Rite of Spring and Seafoam Sleepwalk. Through the 2005 production of Red Beads, Jessica developed a strong artistic relationship with downtown theater legends Mabou Mines. In 2008, she was the designer and puppetry director of Mabou Mine's Porco Morto and later collaborated with Lee Breuer as puppetry director, puppet designer and lead puppeteer on his opus La Divina Caricatura. She was assistant puppet designer and lead puppeteer for Julian Crouch's The Devil and Mister Punch, which premiered at The Barbican Theater (2011). Other theater credits include Mabou Mines' Peter and Wendy, Lee Breuer's Prelude to a Death in Venice and Moises Kaufman's El Gato Con Botas. In 2010, she made her Broadway debut puppeteering in Pee Wee's Playhouse. Also on Broadway, she was the puppetry associate for Big Fish. Puppetry credits on film include Bjork's music video for "Wanderlust," Flight of the Conchord's "Demon Woman," "Fiscal Cliff" for Totally Biased with Kamau Bell and "The Never Bell." In 2012, Jessica collaborated with painter Bjarne Melgaard to create 25 custom poseable dolls for "A New Novel" at Luxembourg and Dayan Gallery. She continued her custom doll work with Melgaard, creating several life-sized, soft sculpture doll portraits for the 2013 Park Avenue Armory Art Fair and the Lyon Biennale. She teaches puppetry technique, and has been a guest puppetry artist in Towson University's MFA program, the William Inge Theater Festival and regional theaters nationwide. She teaches puppetry workshops at Standard Toy Kraft, an art space she recently founded in Brooklyn. She has performed her own work at HERE, One Arm Red and Dixon Place. Jessica received her B.A. in Political Science from NYU.

Chiflón, El Silencio del Carbón

February 24 - 26, 2017

A Dream Music Puppetry Presentation by Silencio Blanco

The mine collapses. A young miner is expelled from the coalmine in which he works. His only chance to keep working for the mining company is to head for the area of Chiflón de Diablo, the area known as one of the most dangerous places a miner can work in Chile. Based in part on the story "El Chiflón del Diablo" by Baldomero Lillo, a distinguished Chilean author, as well as research on the mining town of Lota in Chile, El Silencio del Carbón is a hauntingly beautiful, non-vocAl Marionette work that connects deeply with a broad family audience.

This presentation at HERE is part of multi-city tour, with support from the Mid-Atlantic Arts Foundation, January 8 - March 9. For further detail, please visit HERE.org.

Silencio Blanco, based in Santiago de Chile, is a collective of seven puppeteers including co-founders Santiago Tobar and Dominga Gutiérrez. The group is noted for working with white marionettes, constructed with a newspaper base, in silence. Human sensations are represented through everyday situations and gesture movements. Bunraku and marionette puppeteers transmit the human movement through the puppet, provoking illusion and suspended belief so that it appears as if even the heartbeat of the characters can be heard. The company was formed in 2010 by Santiago Tobar and Dominga Gutiérrez, who met while students at the legendary Theater School of the University of Chile. The current group is made up of seven puppet artists and sound artist-composer Ricardo Pacheco. Collaboratively, they have created three full-length works, De Papel, Pescador and Chiflón, employing puppets and film. Tobar serves as Artistic Director and head puppet maker. Prior to forming Silencio Blanco with Gutiérrez, Tobar was master puppeteer with Compañía Teatro Milagros, collaborating with artistic director-designer Aline Kuppenheim in the company's award-winning multimedia works El Capote and Sobre la Cuerda Floja (Over the Tightrope.)

CasablancaBox

April 5 - 29, 2017

A Resident Artist Production by Sara Farrington & Reid Farrington

CasablancaBox is an exploration into the accidental nature of great art through the lens of the classic film Casablanca. Stories of risk, sacrifice, brilliance and accidents are told by actors who jump in and out of time, character, gender, style, tone, aesthetic and, most importantly, Casablanca. With an intricately woven multi-narrative script and video score, CasablancaBox is an imagined "making of" and an immersion into the glamour, war, censorship, sexism, racism, addiction and refugee crisis of 1940s' Hollywood.

Sara Farrington (Playwright) is a Brooklyn-based playwright. She received her MFA in Playwriting from Brooklyn College with Mac Wellman. Recent, upcoming and ongoing plays include CasablancaBox, completely true and real making of America's favorite movie (HERE, dir: Reid Farrington); Leisure, Labor, Lust, a 3-part play cycle about old New York (JACK NY, The Mount, Lenox MA, dir: Marina McClure); Near Vicksburg, about love and war in the caves of Vicksburg (Incubator Arts Project, WalkerSpace, The Wild Project, Foxy Films); Requiem For Black Marie, about the Brecht machine (Incubator Arts Project, Stella Adler Studios, Foxy Films); Mickey & Sage (Incubator Arts Project, ShelterBelt Theater, Foxy Films); The Vultures (Weasel Festival); That Stays There (Bushwick Starr Reading Series); The Rise & Fall of Miles & Milo (FringeNYC, Winner: Outstanding Playwriting). Sara's play Mickey & Sage is published by Broadway Play Publishing. She is the recipient of a commission from IRT Theater for her piece on the birth experience now and throughout history. She is a MacDowell Colony Fellow, Princess Grace Award Finalist and Great Plains Theater Conference participant. She studied theater at Connecticut College and The National Theater Institute at the Eugene O'Neill Theater Center. She has worked at The Wooster Group, was a resident actor at the former Jean Cocteau Repertory and has toured internationally with husband Reid Farrington's work. Sara produces workshop versions of her plays at Foxy Films, a live/work space in Downtown Brooklyn.

Reid Farrington (Director) is a new media artist, theater director and stage designer. His most recent work, Tyson vs. Ali, a hybrid theater sports event, premiered as part of PS 122 Coil Festival in January 2014. Reid Farrington's A Christmas Carol, which mixed live performers with video projected characters from 35 different film version of the Dickens' classic tale, premiered at the Abrons Art Center in 2011 and was remounted in 2012. His directorial debut, The Passion Project was based on the film The Passion of Joan of Arc and premiered at the PS/K2 festival in Copenhagen, Denmark in 2007. Gin & "It," his second work, was based on Alfred Hitchcock's Rope and premiered at the Wexner Center for the Arts in 2010. He is developing a performance installation for the Metropolitan Museum of Art based on the accidental destruction and then restoration of Tullio Lombardo's "Adam" sculpture, currently on show at the Met Museum. From 2001 - 2008, Farrington was a technical artist for The Wooster Group where he designed video and created hardware and software systems for the integration of video and sound for six of the company's productions: To You, the Birdie!, Brace Up!, Poor Theater, House/Lights, WHO'S YOUR DADA?! and Hamlet. He has toured his work and five of The Wooster Group's productions to Copenhagen, Moscow, Paris, Berlin, Istanbul, Amsterdam, Melbourne, Brussels, Athens, Vancouver and Columbus, OH. He has held creative residencies at the Wexner Center for the Arts, Eyebeam Art and Technology Center, 3LD Art & Technology Center and Abrons Art Center.

Dark Circus

May 30 - June 4, 2017

A Dream Music Puppetry Presentation by STEREOPTIK

Come for the show, stay for the woe" is the motto of the morbid circus at the center of the French puppet company STEREOPTIK. In this sad circus the catastrophes pile up, one after the other. The trapezist crashes to the ground; the animal trainer is devoured by his lion; the human cannonball never returns from outer space. Luckily, there's a clumsy juggler to breathe a little color into the proceedings. If the circus is dark, the tone is light. Music and images accompany the action, and the story is laced with poetic moments and a healthy dose of irony. The visual magic of the theater meets the childlike wonder of the circus. For family audiences. Dark Circus premiered at the prestigious Festival d'Avignon 2015.

Created by the company STEREOPTIK. Based on an original story by Pef. Created and performed by Romain Bermond and Jean Baptiste Maillet. Artistic collaborator: Frédéric Maurin

Founded by Jean Baptiste Maillet and Romain Bermond, STEREOPTIK makes cinema without film, using sound and images projected onto a giant screen to create live animated features. Everything from the music to the illustrations is created in front of the audience using traditional methods pen, charcoal, paint, ink, chalk and sand with no digital effects or editing. The company's pieces play with the relationship between a work and the process of its fabrication. The duo looks at each project as a chance to experiment with new tools and techniques. For the audience, the joy of their work stems from the surprise at witnessing the magical transformations that take place on stage. Mixing arts and crafts simplicity with a poetic sensibility, their work elicits a childlike wonder. Inspired by the silent movies of the past, the company seeks to create theatrical experiences that are accessible to audiences of all ages, all cultures, all languages. STEREOPTIK uses the magic of the theatre to transform simple, everyday objects into a marvelous voyage of the imagination.

The Reception

June 13 - 24, 2017

A Resident Artist Production by Sean Donovan & Sebastián Calderón Bentin

Six guests talk, joke, dance, drink and eat. At times, they hold still, and at other times, they move about. There is music, there is silence, and there is chatter. Old friends mingle with new acquaintances. Slowly the guests warp and rewind their actions as the celebration's mundaneness gives way to something more ominous. No one can leave. No one else arrives. The Reception is a performance that exists between the lines of theater and installation. Drawing inspiration from Luis Buñuel's The Exterminating Angel, which explores physical entrapment and the breakdown of bourgeois behavior, The Reception situates itself in modern-day New York City, but contends with bourgeois values and the surreal decadence of the 21st century in a new way.

Donovan & Calderón have been in collaboration for the past ten years. Previous works include Not Unclear at New York University (2003), Sublimate at the Galapagos Art Space (2006), their improvisational film, Copy/Edit (2007), and the site-specific bilingual piece, Se Vende (2008) at the FAE Festival in Panama. In 2008 they received a grant from the Brooklyn Arts Council for the creation of Equator, which premiered at the Brooklyn Arts Exchange. In 2011, they were Artists-in-Residence at Stanford University where they created The Climate Chronicles. About its premiere in November 2011 at The Incubator Arts Project in New York, Backstage wrote, "The Climate Chronicles succeeds wildly in its blithe send-up of four ineffectual climatologists. Staged with absurd panache and true-to-life humor by co-conceivers Sebastián Calderón Bentin and Sean Donovan, the hilarious performance piece also says rather a lot about the hypocrisy and gridlock that have plagued the environmental movement for decades." Their latest work, 18 ½ Minutes, was created through a residency at Stanford University in fall 2012 and a Brooklyn Arts Exchange Space Grant in 2013. 18 ½ Minutes premiered at JACK in Brooklyn in 2013. While Donovan & Calderón are longtime collaborators committed to creating original performance as artistic partners, they also make work with many other prestigious artists and companies such as the Obie Award-winning Builders Association, Bessie Award-winning Faye Driscoll, Witness Relocation, Goat Island, Every House Has a Door, Jane Comfort and Company, John Jesurun and others. Both artists hold a B.F.A. in Theater from New York University's Tisch School of the Arts where they trained at the Experimental Theater Wing. Sebastián Calderón Bentín also holds an M.A. in Performance Studies from NYU and is a Ph.D. Candidate in the Department of Theater and Performance Studies at Stanford University.

PROTOTYPE: Opera/Theatre/Now

January 5 - 15, 2017

Each January, HERE and Beth Morrison Projects join forces to co-produce PROTOTYPE: Opera/Theatre/Now, the premier global festival of opera-theatre and music-theatre in New York City. After just four years on the scene, PROTOTYPE has produced and presented 129 performances, shared the work of more than 400 local, national, and International Artists, exposed visionary work to more than 15,000 people, and filled 22 stages across multiple boroughs of New York City. It has unleashed a powerful wave of opera-theatre and music-theatre from a new generation of classical and post-classical composers and librettists, and as Opera News proclaimed, "has become a major leader in opera theatre for the twenty-first century." The fifth edition of PROTOTYPE runs January 5-15, 2017. Lineup to be announced.

Last year's PROTOTYPE festival featured the world premiere of Angel's Bone by Du Yun & Royce Vavrek; the New York premiere of Dog Days by David T. Little & Royce Vavrek; a first-look presentation of The Good Swimmer by Heidi Rodewald & Donna Di Novelli; the American premiere of The Last Hotel by Irish artists Donnacha Dennehy & Enda Walsh; the U.S. premiere/Multi-media concert of Sága by Flemish artists Dez Mona & B.O.X.; a concert reading of La Reina by Mexican artists JorgE Sosa & Laura Sosa Pedroza; and an opera-cabaret presentation by Bombay Rickey. Past PROTOTYPE festivals featured the world premieres of Stefan Weisman and librettist David Cote's The Scarlet Ibis, Bora Yoon's Sunken Cathedral, Mohammed Fairouz's opera Sumeida's Song and Kamala Sankaram and Susan Yankowitz's Thumbprint, the New York premieres of David T. Little's Soldier Songs, Gregory Spears's Paul's Case, and international presentations of Collective 33 1/3's Bluebeard and Operamanija's Have a Good Day!

This past January, The Washington Post proclaimed: "The best news in opera in New York these days is the Prototype Festival, an intense annual burst of new and cutting-edge opera that's presenting and generating some of the most interesting work around."

Co-produced by Beth Morrison Projects and HERE, with lead funding from the Andrew W. Mellon Foundation.

CULTUREMART Festival

March 14 - 26, 2017

Annual Resident Artist Festival

Live arts. Up close. CULTUREMART is the annual festival of hybrid works in progress coming out of the HERE Artist Residency Program (HARP), where process becomes the focus. Beautifully produced, yet still in development, CULTUREMART provides a platform for current and often a few former Resident Artists to blur the boundaries between dance, theater, music, new media, puppetry and visual art, melding these forms to support their adventurous visions. This year's program will feature 12 workshop performances spanning genres as varied as surreal object-theater, cinematic music-theater, immersive historical theater and everything in-between.

Additional projects currently in development from artists in the HERE Artist Residency Program (HARP):

HERE's current HARP artists, with projects in development, include: Gisela Cardenas (Hybrid Suite No. 2: The Carmen Variations); Composer Leah Coloff (ThisTree); Composer Lainie Fefferman (Elements); Visual Performance Artist Chris M. Green (American Weather); Composer Matt Marks & Director/Librettist Paul Peers (Mata Hari); Zoey Martinson (The Black History Museum According to the United States of America); Composer Paul Pinto (Thomas Paine in Violence); Music-Theatre Artists Brian Rady & Jeremy Bloom (O); Multimedia director Rob Roth (Soundstage); and Choreographer Amanda Szeglowski /cakeface (Stairway to Stardom).

Hybrid Suite No. 2: The Carmen Variations by Gisela Cardenas

Hybrid Suite No. 2: The Carmen Variations is a devised theater opera inspired by Bizet's Carmen. Mixing opera, text, video-mapping and performing objects, this project seeks to create a multilayered structure that crosses time and geographical borders following the experience of the potential different faces that Carmen can take. Framing the opera as an exhibition about a fiction, a mythological narrative, with many parts, will be deconstructed to be examined and contemplated as real objects and as illusions.

ThisTree by Leah Coloff

ThisTree is a multi-media performance ritual exploring family and remembrance while contemplating the circumstance of leaving no genetic legacy. It is anchored in songs written by cellist/singer Leah Coloff and amplified by personal stories where pioneer spirit meets immigrant dreams in the Pacific Northwest. ThisTree takes place in the forest. In this forest is a clearing where intimate visions created by super 8 home movie footage, handmade objects and personal talismanic props serve to investigate and propagate new meaning for identity and inheritance.

Elements by Lainie Fefferman

Based on the Ancient Greek geometry treatise by Euclid, Elements is an evening-length math opera, scored for soprano trio (Martha Cluver, Mellissa Hughes, Caroline Shaw) and percussion quartet (Mantra Percussion). By representing mathematical abstraction with musical abstraction, choreography, and lighting design, the project endeavors to bring mathematics to life in all its aesthetic glory and stark beauty. Lainie Fefferman, the composer, and Eric Southern, the lighting designer, work closely together to create an audio-visual experience that leaves audiences feeling the geometry more than thinking it.

American Weather by Chris M. Green

American Weather is a work of material theater directed and composed by Chris M. Green about five disparate individuals working in The Shadows of the American empire as it crosses over its apex. Using ready-mades, figurative puppets, live projections, customized technologies, spoken text and original music for brass and voice, five performers visualize and embody the weather-like American condition through overlapping, surreal sub-plots that together come to form an overall arc. The aesthetic of material theater (a form of puppetry where any type of object or natural matter can become animated) provides a persistent allusion to American materialism. Although scenes and images may address themes that are political by nature, the piece is not designed to promote a set of political opinions about America. Rather, American Weather investigates a growing national ambiguity, and our increasing need as Americans to become comfortable with it. A Dream Music Puppetry Presentation.

The Black History Museum According to the United States of America by Zoey Martinson

The Black History Museum According to the United States of America explores the fraught relationship between Black Americans and the criminal justice system by examining how black history is presented in schools and the media. The performance takes the form of a theatrical museum exhibit featuring different "lessons" about black history, in multiple rooms and spaces. Black History Museum grew out of the town hall meetings held after the fatal shooting of Michael Brown in Ferguson, Missouri along with controversy around #BlackLivesMatter vs #AllLivesMatter movements. Bringing up issues including the militarization of the police, dehumanization of African Americans in the media and the economic marginalization of black communities, this work explores why and how these issues continue from one generation to the next.

Mata Hari by Matt Marks & Paul Peers

An interdisciplinary opera-theater piece, Mata Hari is inspired by the life of Mata Hari, the exotic dancer who was executed for espionage during World War I. The story is placed during last months of her life while incarcerated in St. Lazare prison in Paris. It focuses on her relationships with the five men that lead to her execution in 1917.

Thomas Paine in Violence by Paul Pinto

Set in and around the mind of revolutionary activist Thomas Paine (1737-1809), Thomas Paine in Violence is a mad psychedelic opera, depicting the final days of the American Founding Father's life, the strange events of his "afterlife," the censorship of his work, his philosophies, his complaints and his profanities. In this electronic-heavy work, Paine's actual words are embedded in stylized rants. The words of his activist pamphleteering are juxtaposed with the shock jock punditry of our contemporary media landscape, distorted and often censored. Thomas Paine in Violence looks at to the inability to communicate ideas of the "perfect state" to citizenry, and how it feels to see those ideas torn apart by the body politic.

O by Rady & Bloom

Inspired by the pages of 20000 Leagues Under the Sea and old Jacques Cousteau film reels washed up on a beach somewhere, O is replete with music and puppetry and painting that reveals new worlds. Can this Ocean be an abstraction, or is it just water? Can it be a metaphor, or is it necessarily an ecosystem? And also: Could a play let the Ocean be both? Could a play honor the human impulse to spin poetry out of our world while honoring the wet world itself, which sloshes along independent of human imagining? Can we make a play that could conjure a whole Imaginative Ocean out of Nothingness, but also make a play that won't deny the Very Actual Somethingness of a planet out of whack, of living oceans slowly rising. O accommodates jostling ideas of what narrative is, and might be. It puts all of us rival playmakers quite literally in the same boat - living as we do on a shared planet.

Soundstage by Rob Roth

This is considered the second episode in the triptych of 'female lead' studies that began with Roth's award-winning visual rock spectacle, Screen Test. Whereas Screen Test's focus was on 'the Goddess and the grace within,' Soundstage begins to ask the question, 'What are the merits of temptation and how does it lead to the perceived fall from grace?' Is what seems to be destiny self-oriented or is this just a grand experiment by an outside force?

Stairway to Stardom by Amanda Szeglowski / cakeface

Stairway to Stardom is a mixed media dance-theatre tour of shattered dreams, inspired by and sourcing footage from the public-access television series by the same name, which aired in New York City from 1979 to the early 1990s. This new work synthesizes intricate choreography, immersive video, and original texts delivered via cakeface's signature style of linguistic performance art.

HERE is also home to the cross-disciplinary productions of Artistic Director Kristin Marting. Currently in development is Assembled Identity featuring Purva Bedi and Mariana Newhard. Exploring ethnic ambiguity, race and identity, this duet uses original and found text, live cinematography, and contemporary music to explore the science of identity, including genomics, genetics, eugenics and cloning, all of which impact our culture.

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The OBIE-winning HERE (Kristin Marting, Artistic Director and Kim Whitener, Producing Director), named a Top Ten Off-Off Broadway Theatre by Time Out New York, is a leader in the field of producing and presenting new, hybrid performance viewed as a seamless integration of artistic disciplines-theater, dance, music and opera, puppetry, media, visual and installation, spoken word and performance art. Standout productions include Eve Ensler's The Vagina Monologues, Basil Twist's Symphonie Fantastique and Arias with a Twist, Hazelle Goodman's On Edge, Trey Lyford & Geoff Sobelle's all wear bowlers, Young Jean Lee's Songs of the Dragons Flying to Heaven, Corey Dargel's Removable Parts, Taylor Mac's The Lily's Revenge, Kamala Sankaram's Miranda and Robin Frohardt's The Pigeoning, among many others. In 2008, following an extensive renovation, HERE re-opened the doors to its long-time downtown home for the arts, where it continues as a vibrant, welcoming haven for artists and audiences alike.

The HERE Artist Residency Program (HARP) has been HERE's signature development and producing program since 1998. HARP commissions, develops and premieres new hybrid performances. Productions developed at HERE challenge existing boundaries between disciplines -- theater, dance, music, opera, puppetry, media, visual arts, installation, spoken word and more. Through HARP, the Resident Artists are given the unique opportunity to develop their projects for up to three years through free works-in-progress showings, workshop presentations in HERE's annual CULTUREMART festival, culminating in full-scale productions.

Each season, HERE premieres several of these Resident Artist productions as mainstage works. These innovative projects are grown in a diverse artistic community where artists receive career development resources and hands-on training. HARP has been widely recognized as a unique model for artistic development for the field to emulate. In honoring HERE with the 2009 Ross Wetzsteon Award, the OBIE Committee noted, "it's become increasingly hard for artists to find a place to take risks, a safe haven where they can develop daring new work. One theater has regularly bucked the trend, making its mission to ensure that artists have a home for their research and development, and that theatregoers can sample the exciting results."

HERE proudly hosts adventurous artists, companies and productions, whether emerging or acclaimed, through its SubletSeries. It also presents work from New York, across the country, and around the globe through the Dream Music Puppetry Program (co-curated with Basil Twist), and the widely acclaimed PROTOTYPE: Opera/Theatre/Now festival of opera-theater and music-theater, co-produced with Beth Morrison Projects.

HERE's Dream Music Puppetry Program, under the artistic direction of Basil Twist, with producing direction from HERE co-founder Barbara Busackino, is one of few programs in the country to grow and commission contemporary adult puppet works, particularly works that feature live music as a collaborative element. Dream Music seeks to secure the future of puppetry by providing increased development and performance opportunities to puppet artists, and by collaborating with artists from other disciplines to develop new puppetry techniques. This program was inaugurated with the premiere of Basil Twist's OBIE-award winning Symphonie Fantastique in 1998 and the opening of the Dorothy B. Williams Theatre, an intimate space created specifically for intimate puppetry. HERE's Dream Music is also proud to house the Griff Williams Puppetry Collection. The 6 antique marionettes of Harry James, Griff Williams, Cab Calloway, Arturo Toscannini, Ted Lewis and Paul Whiteman were all performed with The Griff Williams Orchestra in the 1930s & 40s throughout America's big band era. They have a permanent home outside the Dorothy B. Williams Theatre at HERE.

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