Thursday, April 12, 2012

Profile: Matt Hislope and Josh Meyer of Rubber Repertory, by Dan Solomon for the Austin Chronicle

From today's edition:

Austin Chronicle

Discomfort Zone

How far can Rubber Repertory push you?

by Dan Solomon, Fri., April 13, 2012

Exposed: Matt Hislope and Josh Meyer on the <i>Chronicle </i>cover in 2007

When Rubber Repertory started auditioning for its new show – the company's last before an "indeterminate hiatus" as half of its producing duo moves to Los Angeles – they didn't know much of anything about what they'd be putting on stage. "Our one thing was that we didn't want audience participation," co-Artistic Director Matt Hislope says.

"We wanted to put on a show," his creative partner, Josh Meyer – the moving-to-California half of the duo – adds. To help them create the performance that is Jubilee, running now at the Off Center, they looked to cast 10 people they'd never worked with before – but whom they trusted to follow them wherever they might be going.

"One of the reasons this group was selected was that they were literally up for anything," Meyer says. "We knew they'd be game for going on this journey with us. They seemed willing to go anywhere. They were all really committed." At this point in the company's career, Rubber Repertory is likely to attract the sort of performers who find being "up for anything" and "going on a journey" to be especially appealing: This is the company that built its reputation on performances including the "X-rated self-help odyssey" Mister Z Loves Company, the outright pornographic A Thought in Three Parts, and the audience-participatory performance pieces Biography of Physical Sensation – which involved an audience member wearing a vibrator throughout the duration of the show, among other experiences – and The Casket of Passing Fancy, in which audience members were offered opportunities like "Who wants to be made into a sandwich and eaten?" and "Who wants a one-on-one yoga session in the nude?"

Read more at the Austin Chronicle on-line . . . .

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