beagan/moro pre A11

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ARTICLE 11 formed in September 2013.  The projects herein are those which include both Moro and Beagan, not necessarily as ARTICLE 11. Beagan and Moro give thanks to the producing companies and many wonderful collaborating artists for these journeys.
CURRENT and UPCOMING

September 2013: ARTICLE 11 launched with DECLARATION, a performative installation work.
February 2014: Dancetheatre work A Soldier’s Tale, Signal Theatre/NAC/DanceWorks helmed by Michael Greyeyes premieres at the Fleck Dance Theatre in Toronto. Sound design by Moro and text by Beagan.
February/March 2014: In Spirit, Native Earth Performing Arts, tours B.C. and runs in Toronto. Writing and direction by Beagan, sound/lights/set/projection design by Moro.
March 2014: Dreary and Izzy, of Western Canada Theatre, Gateway Theatre, Persephone Theatre and Saskatchewan Native Theatre Company, continues. Lighting and sound design by Moro, writing and direction by Beagan.
June 2014: A Soldier’s Tale is featured at the NAC’s Canada Dance festival.
June 2014: The Ministry of Grace debuts in Toronto in workshop presentation form.

PAST

In 2006, Moro was working with da da kamera on their final season, featuring seminal Daniel MacIvor/Daniel Brooks works. Beagan saw Moro’s design work for the first time. The following year, Beagan wrote In Spirit (formerly Quilchena.) Five days after the first draft of In Spirit was completed, Moro, Beagan and actor Michaela Washburn convened to workshop the text and design elements. Moro and Beagan quickly found their working methodologies simpatico. The all-Indigenous team shared core values and a shorthand rapidly developed in the room. The production went on to great success at the SummerWorks Festival of Toronto, and later in residence at Cahoots Theatre Projects, being programmed at Factory Theatre’s Cross Currents Festival. Since In Spirit (which tours via Native Earth Performing Arts in 2014), Moro and Beagan have worked together in a number of capacities:

November 2013:   The 26th Weesageechak Begins to Dance festival at Native Earth. Moro returned as festival designer, working with outgoing AD Beagan to create promotional videos, one featuring Emerging artists resulting from a lenghty, invested relationship with the Centre for Indigenous Theatre where both Beagan and Moro have taught – and one featuring established and highly respected artist, Jani Lauzon.
September 2013: WCTC/Gateway/SNTC/Persephone offer the Western Canada premiere of Dreary and Izzy, with Beagan directing and Moro designing sound and lights.
November 2012:  Andy Moro, festival designer for the 25th annual Weesageechak Begins to Dance at Native Earth, Beagan’s third festival as AD, NEPA’s first festival in Aki Studio Theatre.
September/October 2012: New Harlem Productions and Saskatchewan Native Theatre’s premiere of Keith Barker’s The Hours That Remain brought Beagan and Moro together for the first time as actor/set & projection designer, respectively.
August 2012: Waawaate Fobister’s new work Medicine Boy (SummerWorks), Andy Moro production designer (lights, set, sound and video) and Beagan director. Moro and Beagan dramaturgs. Moro and Beagan mentored three emerging Indigenous artists on this project. Beagan conceived of the marketing images, working with photographer Nadya Kwandibens in execution.
March 2012:  Native Earth Performing Arts’ free as injuns, Andy Moro set and lights, Beagan playwright. Beagan conceived of, partly shot, and edited promo videos with Indigenous filmmaker Alejandro Valbuena, and Luisa Valencia.
October 2010:  Foundlings The reimagined work went on to be featured at imagineNATIVE, this time featuring performances by Beagan and Michael Greyeyes. The Edward Day Gallery served as a wonderful expanded canvas for video designer Moro.
November 2008:  The commissioned (by KICK Theatre of Toronto) Miss Julie: Sheh’mah, Andy Moro lighting and sound design, Beagan playwright.
August 2008:  Foundlings, a multi-media work debuting at the inaugural SummerWorks Performance Gallery at the Gladstone Hotel. Beagan was writer/director, and Moro was the lighting and projection consultant.