NYC Avant-Garage Performing Arts company creating Theatre and Audio unlike anyone else.
Gemini CollisionWorks was founded in 1997 by multidisciplinary artist Ian W. Hill as a company to produce his work for the stage as director/designer, both original plays and restagings. From then to 2000 he created dozens of works, primarily at the NADA theater on Ludlow Street, in the Lower East Side of Manhattan, where he served as caretaker and manager of the spaces and rehearsal halls, and, somewhat notoriously, lived in the basement. Here, he created a number of legendary productions, including the collage fantasia Even the Jungle (slight return) (co-written/conceived by David LM Mcintyre), and the science-fiction/horror restaging of the 1880s temperance melodrama, Ten Nights in a Bar-Room, as well as producing three acclaimed festivals of dozens of directors reinterpreting the plays of Richard Foreman, NO STRINGS ATTACHED, 1997-99.
Berit Johnson became his partner in life and work in 2000, as NADA was being evicted, and have run the company together ever since, mostly at The Brick, a theater in Williamsburg, Brooklyn. They were married in a 4-performance run of The Wedding of Berit Johnson & Ian W. Hill: A Theatre Study by Ian W. Hill & Berit Johnson at The Brick in June, 2010.
While GCW has always had an ad-hoc group of up to 40 actor-collaborators working with them at any time, with their production of My First Autograce Homeography (1973-1974) in 2014, a more formal arrangement began to codify, and as more actors and technicians joined the company since then, and the work became more and more collaborative, The Collisionworkers have become an actual company, with the actor-workers involved more in the running and production of the works. While the company lineup will change slightly each year, the core structure should remain mostly intact. There are 23 full members in the 2019 lineup.
GCW has always run on a low-to-no-budget level, with none of the 96 shows created by the company costing more than $5,000, and the vast majority of them less than $500. While the company remains devoted to this "avant-garage" aesthetic, it has always meant that the many actors and designers working with the company have mostly had to do without pay. We'd like that to change.
Any monies coming in to the company, from all sources, will be split among the company in a system of shares based on how much work they have been doing in any year of work, with about a fifth put aside for upgrade of company equipment and rental of rehearsal and performance space.
Any help we could get with that would be much appreciated.
Thank you for your attention.
It is a pleasure working for you.