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In 2014 I collaborated with Scott Gibbons on music for Go Down, Moses, a new performance by Romeo Castellucci and the Socìetas Raffaello Sanzio

Go Down, Moses had a workshop and avant-premiere at the Théâtre du Vidy in Lausanne, Switzerland, in October 2014, and premiered at Théâtre de la Ville as part of the 2014 Paris Festival D'Automne.


Go Down, Moses toured worldwide from 2014-2016:

Théâtre Vidy-Lausanne ; deSingel International Arts Campus/Antwerp ; Teatro di Roma ; La Comédie de Reims ; Maillon, Théâtre de Strasbourg / Scène Européenne ; La Filature, Scène Nationale de Mulhouse ; Festival Printemps des Comédiens (Montpellier) ; Athens Festival 2015 ; Le Volcan, Scène nationale du Havre ; Adelaide Festival 2016 (Australia) ; Festival Transamériques (Montreal) 2016, Peak Performances 2016, Montclair State-USA ; Helsinki Festival, Madrid Festival

The performance was part of the Paris-Rome 2014 cultural tandem, put in place by the cities of Paris and Rome in partnership with the Institut français.



“A meditation on the unrepresentable...a performance at once obscure and bright, where we pass from the trivial to the cosmic... There is something of liturgy in this theater, that disturbs us to the depths of the unconscious... a mystery that deepens throughout the performance, both monstrous and beautiful...Where does this man get the strength to reinvent the world over and over again?” Brigitte Salino, Le Monde, Paris November 2014

“If theater to you is sustenance, if you are the sort of person who savors the daring and the visionary, then head to New Jersey, where the Italian avant-garde director Romeo Castellucci and his company, Societas Raffaello Sanzio, are offering a thrilling repast… I don’t know why a smile spread across my face when I watched a giant piece of machinery that Mr. Castellucci invented — a long, low, rotating horizontal cylinder — spin faster and faster while a turbine-engine sound reached an excruciating volume and pitch. I can’t explain what made it so exciting and terrible to look at as, one by one, wigs of long dark hair were slowly lowered from above to get caught in it...You might not realize how entirely you’ve entered into his world until he jolts you by changing its frame again... strangely, deeply moving...” Laura Collins Huges, The New York Times June, 2016

“...Harrowing and brilliant... [Castellucci’s] eye is nothing short of marvelous, even sublime.... The play moves forward via a series of tableaux that come together like constellations, tethered by forces that push and pull them rather than strung along a tidy narrative arc... One may leave Castellucci’s violent world understanding that stories are perilous things too—what we tell ourselves to live, of course, but as well to abandon, to imprison, to diagnose. Go Down, Moses may be most striking in the way that it connects us to the experience of a certain chaos—marvelous, nightmarish—and to a feral, untamable present to which we all sooner or later will be held accountable, whether we understand it— whether it means something—or not.” Jenifer Krasinski, Artforum June, 2016

“... Castellucci is not Bono or Pope Francis, but for those attending the Festival TransAmeriques he might as well be... [Castellucci’s] theater is direct, vivid, stingy with words and full of dazzling aesthetics... how not to shudder with fright before the images in “Moses’?... but here are also the footprints of tenderness... “ Nathalie Petrowski, La Presse, Montreal, May 2016


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