"[APL] displays excellence that blurs genre lines." Seattle Times
Crime + Punishment (2017-2018)
"Are you still a citizen and a human being?" ~ Svidrigailov
The Glas Nocturne (2015-2017)
Joseph Lavy as Dr. Glas | Photos: Joe Patrick Kane
Ecce Faustus (2016)
"Some souls one can never discover unless one invents them first."
(L-R Catherine Lavy, Joseph Lavy, Tyler Polumsky, Matt Sherrill, Sara Kaus, Emily Jo Testa, Matt Sherrill, Emily Jo Testa) | Photo: Mark Jared Zufelt, Aether Images
Physical Training (2014)
Margaretta Campagna, Joseph Lavy, Annie Paladino | Photos: Zhenya Lavy
Pomegranate & Ash (2015)
L-R, Back: Joseph Lavy, Trevor Young Marston, Henry James Walker. 3rd Row: Annie Paladino, Emily Jo Testa, Sara Kaus. 2nd Row: Margaretta Campagna, Linnea Ingalls. Front: Zhenya Lavy, Catherine Lavy | Photo: Joe Patrick Kane
"Their courage, as well as their talent, is admirable." Seattle Weekly
We at Akropolis Performance Lab have a lot to be thankful for, and YOU are a big part of that! You attend our productions and Salons, share and comment on our blog and social media posts, submit plays for our annual New Play Salon, and so much more. You truly inspire us to keep pushing toward new heights in our work.
On November 28, APL will be one of more than 30,000 organizations participating in #GivingTuesday, a global movement dedicated to celebrating and encouraging philanthropic giving during the holiday season.
This year’s Giving Tuesday also marks the launch of our crowdfunding campaign for Crime + Punishment — the third and final phase of fundraising efforts for this project. Our goal is to raise $6,000 between now and January 15.
Crime + Punishment, APL’s original adaptation of Dostoevsky’s finest novel, has been nearly two years in development. We are so excited to finally share it with you and look forward to seeing you at one of our shows in Akron or Seattle!
People regularly question me about what it’s like to be an Akropolis actor. We talk about ourselves as an actor-centered, process-drive ensemble committed to long-form rehearsal, so what does that look like in practical terms? Aside from the value we place on physical and vocal training, how do we approach the creative process in the rehearsal studio, and what expectations do we have for our actors that differ from those of an actor engaged in the typical process of putting up a show in 4 or 5 weeks. As we near the opening of Crime + Punishment after more than 550 group rehearsal hours I thought it would be an interesting opportunity to share those expectations with you. I’d love to receive your responses and answer any questions.
Working as an APL Ensemble Actor
December 2016 rehearsal of Crime + Punishment (Joseph Lavy, Matt Sherrill, Tyler Polumsky, Emily Jo Testa, Annie Paladino)
Working as an APL ensemble actor means:
Embracing APL’s signature aesthetic, which:
asserts that the theatrical life of an APL production arises from the tension created between formal discipline and inter-personal immediacy
demands levels of specificity and concepts of spontaneity which may at times seem at odds with dominant contemporary acting approaches
Engaging each rehearsal as a generative artist, making propositions through prepared actions, etudes, improvisations for theatrical material from which the performance text will be created
Recognizing that every proposition—however formal, realistic, or abstract—must be built on a foundation of impulses and points-of-contact with stimuli from external sources (living partners, objects, memories and associations projected outside of the self)
Proposing performative material that is precise, repeatable and iterative
Adapting one’s proposition to changing circumstances (montage with other actors, inclusion of music and/or text, addition of objects, changes of space) without abandoning or destroying the proposition’s originating stream-of-life
Incorporating, retaining, and justifying adjustments made to the proposition in collaboration with the director and any acting partners
Remaining receptive and sensitive to new meanings as they emerge, and embodying them in subsequent iterations
Developing alternate propositions for a subject or scene when inspired or requested, rather than radically changing or abandoning an existing proposition without discussion or collaboration with the director and acting partners
Elaborating with one’s artistic partners the overall performance text composed of acting scores with compound dramaturgical levels:
The original truth, associations and details of the initial propositions
Specificity of form and points-of-contact with acting partners
A living give-and-take with acting partners, which respects and maintains the established physical structure
Precise execution which ensures clear communication of intended information to the spectator
Using one’s acting score as the means to provoke and respond to one’s acting partners and spectators, not simply as a form of choreography or an illustration of a text
Respecting the established details of the final performance text as elaborated through the rehearsal process, and not introducing significant deviations from their score in a moment of on-stage inspiration or improvisation in performance conditions. Once a production is in performance, new propositions are first to be explored and validated in collaboration with the director and other actors under rehearsal conditions before being introduced before an audience
Venture into the lower depths of 19th-century St. Petersburg, where the mysteries of the Russian soul and intellect, crime and love are deeply, irrevocably entwined as we reveal the mind of a killer in his search for meaning and redemption. Did we mention there’s a hurdy gurdy?!
Find complete information about Crime + Punishment: a psychological account of a particular crime on our SHOW PAGE.
This production marks the first time since 2004 that APL has elected to produce a full-scale work in a traditional theatre space.
Our work has always been developed with sensitivity to the relationship between the performance art and the specific architecture it inhabits. We call our work “site responsive” – designed to interact organically and flexibly within each unique space used.
Over the years, we have produced in a Beacon Hill historical estate house, the Volunteer Park Water Tower, a church sanctuary in Ballard, the Swinomish Indian Tribal Community lodge, and the basement of our own home. Although it’s been awhile, we also have produced in conventional theatre venues such as On the Boards Studio, Capitol Hill Arts Center (CHAC), Freehold and Seattle Chamber Theatre (when the Oddfellows Building was an arts space), Theatre4, and The Balch Street Theatre.
Wherever we perform, rest assured the artistic principles, vision, and commitment to austerity and intimacy that define our work as uniquely APL will continue to guide us without compromise.
Crime + Punishment: a psychological account of a certain crime, formerly referred to under the working title 730 Steps, is developing into a highly theatrical piece. A small, invitation-only rendering in July yielded great feedback for our fine tuning.
We can’t wait for you to experience the finished piece at West of Lenin’s beautiful theatre!
Ink us in for a date: January 5-13 at West of Lenin, 203 N 36th St, Seattle!