Baryshnikov Arts Center

Past Artist
Baryshnikov Arts Center Resident Artist

Qui Nguyen, Liesl Tommy, + Shane Rettig

Theater artists Qui Nguyen and Liesl Tommy, and composer/musical director Shane Rettig, will create a “politically incorrect” action-comedy following the life of Unity Spencer, a young colonial girl imbued with immortality but cursed to fight in every American conflict from the American Revolution to present day and beyond. This residency takes place in association with the Sundance Institute Theatre Program.


Artist Bio
Qui Nguyen

Qui Nguyen

Qui Nguyen is a Brooklyn-based writer, fight choreographer, and Co-Founder of Vampire Cowboys, an OBIE Award-winning “geek theatre” company based in NYC that focuses on highly physical genre-bending productions blending stage combat, multimedia, and puppetry.

 


Artist Bio
Liesl Tommy

Liesl Tommy

Liesl Tommy is a Program Associate at Sundance Theater Institute. She was awarded the inaugural Susan Stroman Directing Award from the Vineyard Theater, the NEA/TCG Directors Grant and the New York Theatre Workshop Casting/Directing Fellowship. All of her productions have won awards for directing, acting, and design. 

Liesl has taught master classes in acting, directing and new play development internationally and guest directed at Juilliard, Trinity Rep/Brown University’s MFA Directing Program, The Strasberg Institute, and NYU’s Tisch School of the Arts. She is a native of Cape Town, South Africa.

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Artist Bio
Shane Rettig

Shane Rettig

Shane Rettig is a Brooklyn based composer, sound designer and lyricist. He is the resident composer/designer for Vampire Cowboys, a member of The Ensemble Studio Theatre and an associate artist with The Civilians. His work has also been heard at The Public, The New Group, Roundabout, Ma-Yi, Clubbed Thumb, New Georges, The Flea and regionally at Centerstage, Dallas Theatre Center, Actor’s Theatre of Louisville, La Jolla Playhouse and Yale Rep, among others. 

His work has been exhibited at the Prague Quadrennial, and he has been nominated for Drama Desk, Lucille Lortel, Audelco and New York Innovative Theatre Awards.

Mr. Rettig is the composer and co-lyricist for War is F**cking Awesome (previously received development at Sundance Theatre Lab 2013) and composer for The Unknown (Public Theater’s New Work Now! and the New York Musical Theatre Festival). He has performed with a variety of strange and not so strange bands in New York City, including The Atomic Grind Show, Slow to Wake and Project Airl[o]ck.

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BAC Story by Lizzie Simon
Qui Nguyen, Liesl Tommy, + Shane Rettig

Qui Nguyen, Liesl Tommy, + Shane Rettig

Mar 28, 2014

By the end of their residency at the Baryshnikov Arts Center, the musical comedy team Qui Nguyen and Shane Rettig had written more songs in a week than they had for six months. “It’s really hard to get together and make it happen,” said Mr. Rettig. “Here you write something. You hear something. You learn.”

He was speaking from the BAC’s 6th floor studio where, in partnership with the Sundance Theatre Institute, he and Mr. Nguyen had been plugging away on their musical-in-progress, “War is F**king Awesome,” with director Liesl Tommy and a stellar group of performers including Rebecca Naomi Jones, Sharone Sayegh and William Jackson Harper.

Studio 6A has a kind of understated urban elegance: concrete walls with large windows that look out onto city views. Inside, music stands, chairs and fold up tables, a piano, scripts, pencils, water bottles, coffee and snacks from the building’s first floor café. It was their last day of rehearsal, and in a few hours, they’d be presenting a semi-staged reading for an invited audience of fifty friends and colleagues.

“War” is a musical satire about a young woman killed in the American Revolution who is offered immunity if she’ll agree to fight in every American conflict in perpetuity. The humor is political, sometimes irreverent, sometimes piercing, sometimes raunchy---it’s a bombastic comedy, with a comic book feel. But at the core, said Mr. Nguyen, the musical is about his relationship to the war narratives he heard as an adolescent in the States. “In school the Vietnam War was always referred to as a mistake, but in my household Vietnam was necessary. I heard a different response inside and outside.”

The residency at BAC came at a critical time in the show’s development. Given simple, but essential, resources, the creative team was able to move the work-in-progress dramatically in the direction of completion.  He and Mr. Rettig’s first residency for the show was last summer at the Sundance Institute in Utah. There Mrrs. Nguyen and Rettig were first paired with director Liesl Tommy, who had selected the script with an esteemed panel headed by Sundance Institute artistic director Philip Himberg. “We selected it because it seemed very fresh and to be pushing form,” said Ms. Tommy. “Also because of what Qui outlined on his to do list - what was not yet written. It seemed like Sundance could really give Qui and Shane time and space to further develop something wonderful.”

Her first impression of Qui's script? “I found it hilarious, politically subversive, and hyper theatrical. And I'd never encountered a musical where the choreography during music was meant to be fights.” Mr. Rettig’s music combined pop, hip hop and R&B, “and not cheesy musical theatre versions of those things.”

Moreover she wanted to be part of Mr. Nguyen’s satire of war ideology. Ms. Tommy is herself an immigrant from South Africa. “I really related to Qui's passion for telling this story,” she said, “Qui talked about being from a family of Vietnamese immigrants coming to the USA in the 70's and his perspective on war, fleeing war, reasons for war. I knew he had a fascinating POV.”

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Lizzie Simon writes about the arts for The Wall Street Journal.

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