Aya's latest project emerged from an interactive and intimate exploratory process around the topic of failure (from personal, artistic, career, systemic), and has taken shape, organically, as an autobiographical, darkly humorous and humorously dark look at her relationship with her father through his life and beyond his death.
This project was developed through the Parent Artist Space Grant at Brooklyn Art Exchange in the winter/spring of 2017, and will continue to be developed through an artist residency at BAX in the 2017-2018 season.
Ludic Proxy is a multi-lingual, multi-media play exploring the tenuous line between memory, reality and fantasy through three narratives that unfold within an immersive theatrical landscape:
Act One: The Past A woman becomes obsessed with a video game when she recognizes its setting as her hometown Pripyat, abandoned after the Chernobyl crisis.
Act Two: The Present A pregnant woman living in the outskirts of the Fukushima nuclear evacuation zone is torn between abandoning her hometown and saving herself and her child.
Act Three: The Future A woman contemplates her own mortality and possible progeny, unable to imagine a hopeful tomorrow within a technology-saturated underground future world.
Written and directed by Aya Ogawa / Set Jian Jung / Costumes Loren Shaw / Lights & Video Jeanette Oi-Suk Yew / Sound Michael Kiley / Dramaturg Anne Erbe / Production Stage Manager Marjorie Ann Wood / Featuring: Christopher Henry, Ayesha Jordan, Jackie Katzman, Yuki Kawahisa, Megan Stern, Saori Tsukada.
A young Japanese woman comes to New York City, a complete stranger, and embarks on a mysterious journey through her memory and the anonymous city. Swept up in the rhythms of the foreign city she discovers that she can go through life without ever uttering a word.
Expatriated students in an international Christian girl’s school in China have formed their own insular hierarchy within the school walls — but the arrival of a new teacher and a transfer student threatens its delicate balance.
In the world of entertainment production cultures collide and language collapses. Compromises of artistic and personal integrity punctuate the struggle for voice and power in the creation of “art.” Cultures clash in a theater producer’s office and the translator bears the brunt.
Through three disparate, interweaving stories of disjoint and disconnection oph3lia examines the archetype and themes emerging from the character of Ophelia in Shakespeare’s Hamlet in a contemporary and international context.
Written & directed by Aya Ogawa Set & costumes by Clint Ramos Lights & video by Jeanette Yew Sound by Rich Kim Music by Andy Gillis Featuring: Laura Butler, Drae Campbell, Dawn Eshelman, Connie Hall, Ikuko Ikari, Hana Kalinski, Eunjee Lee, Mark Lindberg, Alanna Medlock, Jy Murphy, Jorge Rubio, Magin Schantz, Maureen Sebastian
oph3lia was developed at Brooklyn Arts Exchange, New Dramatists, NYTW and HERE Arts Center.
Oph3lia pulled together so many things people talk about – globalization, technology, post-modern identity, art vs. commerce, alienation of modern society, the challenges of human interaction and intimacy, the search for connection and meaning – and wove them into this beautiful, heart-breaking, hilarious, world-unto-itself. You MUST GO SEE THIS SHOW! -- Culturebot.com [read original post]
Compelling…Harrowing…What to make of the strange, feral dances the schoolgirls engage in, while singing their wordless songs? What of the playwright and the producers, riotously alive and bursting with their own stories and concerns? Both make for great theater. -- The New York Times [read original article]
A smart, beautiful, and touching production that is unpretentious and fun. I left feeling humbled and inspired, reminded why I love theatre the way I do. Do not miss this show, and once you see it, tell everyone you know. -- NYtheatre.com [read original article]
Stunning… Superb… [Ogawa's] ability to translate cultural chaos to the stage in a palpable manner is rare. She jars the theatergoer out of her everyday world and allows her to vicariously experience–and empathize with–her contemporary Ophelias, who want only to be understood. Amazingly, that is just what happens in the theater. -- hotreview.com [read original article]
Airy… lovely… graceful… like a dream… must not unwatch’d go. -- Time Out New York [read original article]
On her own terms, Ogawa has successfully crafted a riveting experience that succeeds because of its incredible imagery and its ability to access raw emotional territory. -- Backstage [read original article]
a brilliant exploration of suspension–in time, in space, between words, and between bodies. So much so that walking out of the theatre last Thursday night I was rendered, much like the first Ophelia in this Murakami-esque work, silent. -- Obscene Jester [read original article]
A project of The Foundry Theatre's "NYC… Just Like I Pictured It," a performance series of five new works and a musical that re-imagine the city we live in.
In collaboration with Adhikaar and the Nepali immigrant community, writer/director Aya Ogawa and designerJeanette Yew create an invented festival for the future in which past stories of injustice and violence unfold to their imagined resolutions. Ritual, song and dance collide with technology in this bilingual performance that posits hope for equity and equality in the community that is New York.
Journey to the Ocean
You have to visit your sick mother, fire your entire office, and you have no one to turn to. What are you worried about? Lush video and sound design are woven into movement in this journey through geography, fantasy and the economy.
And spam. Lots of spam.
A play with multimedia (in development) Written & Directed by Aya Ogawa
–> Presented as a work-in-progress excerpt in February 2009 at the Performance MIX Festival
Video & Lights by Jeanette Oi-Suk Yew
Sound by Rich Kim
Featuring Drae Campbell, Ryan Edwards, Ikuko Ikari, Joan Jubbett, Eunjee Lee, Alanna Medlock, Jason Quarles, Sophia Remolde, Adam Rihacek
–> Presented as a reading in September 2007 as part of PRELUDE ’07
Featuring Maha Chehlaoui, Donlin Foreman, Jennifer Emerson Foreman, Judson Kniffen, Alanna Medlock, Banaue Miclat, Ryutaro Mishima, Tony Roach, Sophia Skiles, Deborah Wallace & Nancy Wu.
Artifact @ Performance Mix Festival
pictures of the drowned
A woman swept up in the rhythms of a foreign city discovers that she can go through life without ever uttering a word. A dying mother reveals a deep secret that sets her son off on a mysterious journey of nostalgia for the unknown. Art and entertainment: cultures clash in a theater producer’s office and the translator bears the brunt. An explosion of Shakespeare’s Hamlet in four languages turns on its players. multiple disparate stories of disjoint and disconnection portray the convergence of dream and reality in a globalized world.
This precursor to oph3lia was shown as a workshop at New York Theater Workshop’s 4th Street Theater in August 2005.
Script & Direction Aya Ogawa Lights Charles Foster Set Eric Hildebrandt Sounds Rich Kim Costumes Clint Ramos Projections Chi-Wang Yang Production Assistant Yukako Yamazoe Light Board Op Hamilton Boardman
Based on Yasunari Kawabata's novel Beauty and Sadness, this play reorients the sordid story of a torrid love affair between a 16-year-old girl and a writer twice his age. Unresolved tragedies of the past echo into the future.
written and directed by Aya Ogawa. Produced at Clemente Soto Velez, Latea Theater in May 2003.
work of visual beauty and formal originality… notable for the writer-director’s stunning visual sense, her often adept hand at dialogue, and her gift for creating natural moments between actors in the midst of strange, jarring rhythms. -- Theatremania.com [read original article]
Writer-director Aya Ogawa … has interwoven often-poetic language with often-mesmerizing scenes that play upon the mind while you watch. -- Offoffoff.com [read original article]
During an unnamed war, a soldier is captured on enemy territory and kept like a dog, chained in the backyard, and tended to by two young girls. A one-act play that challenges ideas of sanctioned violence through the lens of childhood.
Presented at Soho Rep as part of Summer Camp 1999. Directed by Ron Russell.
Presented at HERE as part of Theatres Against War (T.H.A.W.) in 2002.
Serendipity, or a postmodern farce
A 10-minute play about a man who reads palms and a woman who is afraid of frogs. Winner at the Kennedy Center/American College Theater Festival and finalist for Humana's 10-minute play contest.