“I personally would like to bring a tortoise onto the
stage, turn it into a racehorse, then into a hat, a song,
a dragoon and a fountain of water.
One can dare anything in the theater and it is the place
where one dares the least.”
– Eugene Ionesco.
stage, turn it into a racehorse, then into a hat, a song,
a dragoon and a fountain of water.
One can dare anything in the theater and it is the place
where one dares the least.”
– Eugene Ionesco.
Michael Moore Among Artists Recognized At United Solo Festival Gala
https://www.broadwayworld.com/article/Michael-Moore-Among-Artists-Recognized-At-United-Solo-Festival-Gala-20171120
"Megan Metrikin is both playwright and performer in this vivid ode to Federico Fellini, the muse to a young girl trapped in the horrors of Apartheid South Africa. Guy de Lancey is both director and designer of this lush visual gem which expertly marries film and theater in an intoxicating mix of memory and mosaic."
“A sumptuous visual feast...De Lancey has directed a perfect dream.” - NYTheatre.com
“A sumptuous visual feast”
I headed off to The Secret Theatre, one stop from Manhattan, to experience Finding Fellini at the Flying Solo Festival. I love being present at the birth of brand-new work where the artists fling themselves into a wild circus of brave choices and tightrope daring. In this quirky memoir, one woman, an actress, leaves the constrictions of South African Apartheid in an obsessive stalker quest to find the film director Frederico Fellini in Rome.
Her intense love affair with Fellini starts when her father joins the censor board so that he could get his hands on all of the incredible films that would ultimately be banned in South Africa. She meets the maestro on the wall of her family living room as they all gather to watch what would be denied viewing for the rest of the country. So, she heads off across the sea to find Fellini in hope that he will cast her in one of his movies. She is armed only with ineffable optimism. When she arrives in Rome, she begins her detective work to hunt him down, which leads her into a sensual world of strangers, sex, spaghetti, and cinema. I felt an instant affinity with her lack of respectability!
These waking dreams of Italian passion are juxtaposed with the nightmare missives arriving from her home country. Every horror story from home accelerates her desperate desire to find her muse, her icon, her mentor in the flesh. Megan Metrikin is our dreamy clown dressed in the individuality of eccentricity. Her earnest search will take her into surprising situations with larger-than-life characters. Fellini remarks, “Hats can be a good indicator of character,” and Metrikin has taken this statement to heart, donning a range of millinery masterpieces to evoke her many moods.
Director Guy de Lancey has woven Metrikin’s moving text with potent imagery that makes you feel like you are inside a particularly surreal dream. Fellini says, “Everything starts as a picture for me” and “in my sleep I have some of my best thoughts, because they are images rather than words.” These sentiments have been beautifully realized in the crafting of this sumptuous visual feast. There are also a few snatches of favorite Fellini films that allow for some hilarious comedic opportunities.
Metrikin travels around the stage like an origami boat on a velvet blue lake. Her eyes are wide open to the onslaught of un-imagined experiences, and her soft center is exposed.
Jacquelyn Clare, nytheatreguide
I headed off to The Secret Theatre, one stop from Manhattan, to experience Finding Fellini at the Flying Solo Festival. I love being present at the birth of brand-new work where the artists fling themselves into a wild circus of brave choices and tightrope daring. In this quirky memoir, one woman, an actress, leaves the constrictions of South African Apartheid in an obsessive stalker quest to find the film director Frederico Fellini in Rome.
Her intense love affair with Fellini starts when her father joins the censor board so that he could get his hands on all of the incredible films that would ultimately be banned in South Africa. She meets the maestro on the wall of her family living room as they all gather to watch what would be denied viewing for the rest of the country. So, she heads off across the sea to find Fellini in hope that he will cast her in one of his movies. She is armed only with ineffable optimism. When she arrives in Rome, she begins her detective work to hunt him down, which leads her into a sensual world of strangers, sex, spaghetti, and cinema. I felt an instant affinity with her lack of respectability!
These waking dreams of Italian passion are juxtaposed with the nightmare missives arriving from her home country. Every horror story from home accelerates her desperate desire to find her muse, her icon, her mentor in the flesh. Megan Metrikin is our dreamy clown dressed in the individuality of eccentricity. Her earnest search will take her into surprising situations with larger-than-life characters. Fellini remarks, “Hats can be a good indicator of character,” and Metrikin has taken this statement to heart, donning a range of millinery masterpieces to evoke her many moods.
Director Guy de Lancey has woven Metrikin’s moving text with potent imagery that makes you feel like you are inside a particularly surreal dream. Fellini says, “Everything starts as a picture for me” and “in my sleep I have some of my best thoughts, because they are images rather than words.” These sentiments have been beautifully realized in the crafting of this sumptuous visual feast. There are also a few snatches of favorite Fellini films that allow for some hilarious comedic opportunities.
Metrikin travels around the stage like an origami boat on a velvet blue lake. Her eyes are wide open to the onslaught of un-imagined experiences, and her soft center is exposed.
Jacquelyn Clare, nytheatreguide