"Enthusiastic, hilarious, existential, shape shifting magic. It’s the kind of thing you don’t get to see anywhere else." - Plank Magazine
"A HILARIOUS STORY WITH HEART" ★★★★★ - Vue Weekly
A kaleidescopic trip of epic synth-rocking hilarity that skyrockets from the conference room to the surreal wilds of the demonic underworld through sublime projector art and a self-help seminar of questionable veracity. Your eccentric, endearing hosts, Madge and Taffy of 'Sittendouche Industries", implore you to rid yourself of crippling emotional pain during their DREAM DUMP Seminar through their patented methods and super scientific anecdotes. Things begin to get weird (really weird) when Madge uncovers a portal via the DREAM DUMP extraction device to an infernal casino teeming with demons and evil shrimp buffets. The revelation of a dark secret (hint, it involves Russian gymnasts) pulls the curtain back on the past and threatens to tear Madge and Taffy’s friendship apart. A cosmic battle with the forces of evil ensues.
In the latest move to push the boundaries of original stories and physical theatre, Glitter Gizzard looked to anecdotal pop-science as a psuedo-religious phenomenon and developed an interest in poorly thought-out dogmatic ideologies meant to redesign the human experience, as well as the characters that preach them, as fodder for the play. Inspired by attending ridiculous and boring conferences and seminars, creators of the play Allie Menzimer (U.S.A.) and Janessa Johnsrude (Canada) explored the juxtaposition of the mundane and the surreal to create the world of the show. While The Seminar with Madge and Taffy is ultimately a tale about a strange and delightful friendship, it also taps into deeper and darker themes of dogma, failure, and the heartbreak of betrayal. The Seminar aims to illuminate the paradoxically uplifting and utterly depressing notion that although the likelihood of achieving our dreams may be grim, they are ultimately worth having in order to make life bearable and poses the question: Is the act of believing more important than what you actually believe if you believe in your beliefs to cope with not knowing what to believe?
About the Artists
Glitter Gizzard is an international physical theatre collective of women that create with a taste for dark comedy and unabashed inventiveness in their exploration of the female comedic duo...and with a feriocious fuck you to people who think that women can't be funny. They met at Dell'Arte International School of Physical Theatre's MFA program and share in interest in vaudeville and cabaret, clown, bouffon, mask and puppetry. They use strong physical character proposals to launch their creative process to unearth original stories that ask difficult questions about the human condition. glittergizzard.com
Co-Created by JANESSA JOHNSRUDE and ALLIE MENZIMER
Sound Design by CORY GOLDMAN
Photo by TERRENCE MCNALLY
Janessa in an artist from the Canadian Prairies. She lives and works in California at Dell'Arte International School of Physical Theatre and is a graduate of their MFA program. She crafts character teeth for professional performers with her company Necessiteeth: The Ultimate Mouth Masks and teaches theatre at Pelican Bay State Prison. Janessa has worked and studied in Canada, the Czech Republic, Bali, Egypt and the U.S.A as a performer, teaching artist and puppet builder/ puppeteer. Her loves and interests lie in comedic duos, transformative character, cabaret, vaudeville, mask, mycology, the woods, and coral reefs.
Allie is a San Francisco native who has produced and performed original work all up and down the California coast, appearing in Santa Barbara, Santa Cruz, San Francisco, and Humboldt County. She is a graduate of the MFA program at Dell'Arte International, and has since joined the next generation of theatermakers in Portland, OR, appearing with Oregon Children's Theater and solving murders with a local dinner theater company. She is proud to be a member of an all-female theater company dedicated to the fearless examination and lampooning of society's crusty underbelly, and plans to spend the next four years with one finger in the air and the other hand making art.