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Ken Roht's


Kevin Artigue
Lee Avent
Mark Bringelson
Tad Coughenour
Liz Davies
Jamison Haase
Dylan Kenin
Ilya Pearlman
Katie Puckrik
Ken Roht
Nathaniel Taylor
Will Watkins

Created and choreographed by Ken Roht
Arrangements and Musical Direction by John Ballinger
Songs composed by Kip Boardman, Curtis Heard, Rick Lunn,
Ken Roht, and Scott White
Lyrics by Ken Roht
Other original music by John Ballinger

Art pieces - John Zalewski, Jason Adams, Robert Prior, and Keith Mitchell
Lighting Designer - Chris Kuhl / Bart DeLorenzo
Costume Designers - Dottie Sisken with Anthony Garcia

Stage Manager - Sarah Connine
Spot Light - Lori Nelson

Graphic Design - Colleen Wainwright

April 28 - September 9, 2003

Dylan Kenin, Jamison Haase, Lee Avent,
Ilya Pearlman, and Nathaniel Taylor

Mark Bringelson, Liz Davies, and Katie Puckrik

Jamison Haase, Ilya Pearlman, Nathaniel Taylor, and Dylan Kenin


LA Weekly

In an hour of pure abstraction, auteur-choreographer Ken Roht and his company assault t he audience with rapidly alternating song-and-dance styles, ranging from extravagant musical comedy to darkly primal pessimism. The broad subject is power and subjugation in human relationships, but sociopolitical concerns are far outweighed by spectacle. Twelve extraordinary singer-dancers blast through a repertoire of short musical sketches. Roht’s youthful experience in flashy show-choirs is evident in several bright numbers with classic Broadway-style choreography that ultimately dissolve into ironic twists. His later influences steer him into ritual work and dark German expressionism that would make the Berliner Ensemble blush. John Ballinger’s musical arrangements combined with striking voice-overs create a brilliant fusion with Roht’s lyrics and oscillating dance styles. Every aspect of the production, from set pieces to visual artworks (John Zalewski, Jason Adams, Robert Prior) and costumes (Dottie Sisken and Anthony Garcia), consolidates to produce a most remarkable work of performance art.

– Tom Provenzano

Los Angeles Times

Over the years, Ken Roht has made quite a name for himself on the Los Angeles theater scene, both as a collaborator to experimental theater maven Reza Abdoh and for his wickedly witty choreography for such shows as Pinafore, the hit Gilbert & Sullivan parody at the Celebration Theatre.

But it is as producer of his own theater pieces that Roht has become most widely renowned. He Pounces, Roht's most recent effort, presented by Roht’s own ensemble, Orphean Circus, is a streamlined effort running little more than one hour. In that brief interval, Roht turns our heads around several times, to dizzying effect.

The evening is very much a collaborative effort, but Roht holds sway as creator, choreographer, lyricist, co-composer and general overseer. His able collaborators include music director John Ballinger, a half dozen or so composers, several A-list designers and a remarkable ensemble, including Roht himself. The press notes assert that Roht’s primary theme concerns the human need to "conquer and be conquered," but the show itself is an inchoate melange of a decidedly surreal stripe. Whimsy predominates, but the mood can turn dark in an instant. Splicing short sketches with full-blown musical production numbers, Roht samples a blur of subjects, from nonsensical musings on the meatiness of a "Big Blue Cow" to a disturbing meditation on the aftermath of child molestation.

– F. Kathleen Foley

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