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Kinesis Project dance theatre and Opera On Tap present Capacity, or: the Work of Crackling as a part of Summer on the Hudson

September 30, 2023 - October 1, 2023

Kinesis Project dance theatre and Opera On Tap with the support of Riverside Conservancy will present Capacity, or: the Work of Crackling as a part of Summer on the Hudson on September 30 & October 1, 2023 at 5pm. This stunning, large-scale dance and opera work offers audiences a dynamic and engaging experience of the riverfront from visual and sonic perspectives. A very special pre-show talk will be offered by the project’s collaborating Geologist, Dr Martha “Missy” Eppes. Audiences should be prepared to move through the park. For more information, and the full schedule, please visit https://www.nycgovparks.org/events/summer_on_the_hudson.

Summer on the Hudson is NYC Parks’ annual outdoor arts and culture festival that takes place in Riverside Park from 59th Street to 181st Street. With a mix of music concerts, dance performances, movies under the stars, DJ dance parties, kids shows, special events, wellness activities, and more there is something for everyone! All programs and events are free to the public and registration is not required unless specifically stated in event information.

Capacity, or: The Work of Crackling by Kinesis Project, Opera on Tap and Anti-Social Music at Summer on the Hudson

Saturday, September 30 2023
5pm- Audience gathers at Locomotive Lawn
5-5:15 Dr. Missy Eppes offers a short talk on cracking, glaciers and the Hudson
5:15 Full performance of Capacity, or: the Work of Crackling

Sunday, October 1, 2023
5pm- Audience gathers at Locomotive Lawn
5-5:15 Dr. Missy Eppes offers a short talk on cracking, glaciers and the Hudson
5:15 Full performance of Capacity, or: the Work of Crackling

Capacity, or: the Work of Crackling is an expansive, yet intimate outdoor theatrical experience that investigates our human capacity for joy, grief and how that relates to the natural processes of the earth’s cracking. Choreographer/Director Melissa Riker has been working with the collaborative guidance of geologist Dr. Martha “Missy” Eppes, exploring the parallels found in mechanical weathering and subcritical cracking. All of the designers and artists involved have used Dr. Eppes research as well as that of her colleagues to create elements of the performance, from music to costuming. The performances feature costumes by designer Rebecca Kanach, sound design by Shahrokh Yadegari and music by Anti-Social Music composers Diana Woolner, David Friend, Eyal Moaz and Brian McCorkle.

Audiences will experience sound and performance at a distance, via personal headsets and through immersive elements. All attending should be prepared to move along 8 blocks of the park, wearing shoes or bringing necessary support.

Capacity, or: the Work of Crackling will be performed by Kinesis Project NY dancer/collaborators Hilary Brown-Istrefi, Sabrina Canas, Madeline Hoak, Abbie Linnemeyer, Yolette Yellow-Duke with Opera on Tap singers Rachel Hutchins, Kayleigh Butcher, Blake Burroughs, Kannan Vasudevan and instrumentalists Johnna Wu (Violin), Jeff Hudgins (Saxophone), Eyal Maoz (Anti-Social Music/Guitar).

This work is made possible by New York State Council of the Arts/Governor Kathy Holchul, Summer on the Hudson/Riverside Park Conservancy, John C. Robinson, Melissa Graule and Amerigo Falciani, The Bowick Family Foundation, Anthony and Emily Seaver, IndieSpace and many generous individual donors and patrons of Kinesis Project and Opera on Tap.

Dr. Eppes and Riker’s work together is supported in part by NSF (The National Science Foundation.)

Melissa Riker is Artistic Director and Choreographer of Kinesis Project dance theatre. She is a New York City dancer and choreographer who emerged as a strong performance and creative voice as the NYC dance and circus worlds combined during the early aughts. Riker’s dances and aesthetic layer her training as a classical dancer, martial artist, theatre choreographer and aerial performer. She creates dances on site – and in context. Riker invents large-scale out-door performances and spontaneous moments of dance for individuals and corporate clients. Audiences and critics have called Riker’s work “a Marx Brothers’ routine with soul,” “A movable feast.” And from The New York Times, her choreography is: “comically acrobatic, gracefully classical, visually arresting.”

In June 2022 Riker was Artist in Residence for the Progressive Failure of Brittle Rocks Conference (PRF22) an international conference of Geologists, Geomorphologists and Mechanical Engineers, convened by Dr. Missy Eppes and her colleagues. Since they have collaborated creating art and science events in France, and shared essays in a forthcoming book “Subcritical: Third Cultures” published through the University of South Carolina Charlotte.

Dr. Martha Cary (Missy) Eppes is a Full Professor of Earth Sciences at the University of North Carolina, Charlotte. She holds a PhD in Earth and Planetary Sciences from the University of New Mexico where she studied soil geomorphology and the influence of soil development on the response of landscapes to tectonic perturbations. Her later work has focused on mechanical weathering processes and the insight that fracture mechanics concepts can provide to understanding natural rock fracture. This work’s contribution to the fields of Quaternary geology and geomorphology has been recognized by the Geological Society of America (GSA) through its Kirk Bryan award and by the American Geophysical Union’s Marguerite T. Williams Award. Dr. Eppes is a GSA Fellow and a U.S. Fulbright Scholar alumna. Throughout her scientific research she collaborates with artists, such as Marek Ranis and Melissa Riker to bring science beyond the realm of scientists.

Opera on Tap (OOT) was born in 2005 at Freddy’s Bar and Backroom in Brooklyn and incorporated in 2007 to promote opera as a viable, living and progressive art form and to support the developing artists who continue to keep the art form alive. What began as a small monthly gathering of ambitious, classically trained singers looking for more performance opportunities, has grown into a producing organization that has gained a loyal audience base and national recognition as an innovative force on the classical music scene. Through its Chapter program, which now has over twenty vibrant national (and international!) chapters, OOT has created a large network of performers, creators, and supporters. Our mission is to expose new audiences to opera and classical music by taking opera and classical music out of the concert hall and performing it in alternative venues, to aid young performers in their development by giving them the opportunity to perform and to promote and support them through our organization and to help promote new classical works of contemporary classical and operatic composers. operaontap.org

Anti-Social Music is a composer/performer collective based in New York City, supporting artists at the bleeding edge of new music since 2000. antisocialmusic.org

Shahrokh Yadegari (“Capacity/Thread” composer/co-sound designer) composer, sound designer, and producer, has collaborated with such artists as Peter Sellars, Robert Woodruff, Ann Hamilton, Christine Brewer, Gabor Tompa, Maya Beiser, Steven Schick, Lucie Tiberghien, Shahrokh Moshkin Ghalam, Hossein Omoumi, and Siamak Shajarian. He has performed and his productions, compositions, and designs have been presented internationally in such venues as the Carnegie Hall, Royce Hall, Festival of Arts and Ideas, OFF-D’Avignon Festival, International Theatre Festival in Cluj Romania, Ravinia Festival, Ruhr-Triennale, Vienna Festival, Holland Festival, Tirgan Festival, Forum Barcelona, Japan America Theatre, The Pulitzer Foundation for the Arts, the International Computer Music Conference (ICMC), the Institut für Neue Musik und Musikerziehung (Darmstadt), Judah L. Magnes Museum in Berkeley, and Contemporary Museum of Art, San Diego.

Hilary Brown-Istrefi (dancer/collaborator) is a Canadian-American director, choreographer, performer, educator, curator, and cultural organizer. Originally from Toronto, now living in Rockaway Beach, she is a graduate of École de danse contemporaine de Montréal and over the last decade has performed in the works of Melissa Riker, Bouchra Ouizguen, Jillian Peña, Doug Elkins, Linda Tegg, and Candice Breitz. In 2013, she co-founded the award-winning performance collective, Same As Sister (S.A.S.), with her twin Briana Brown-Tipley. Their interdisciplinary commissions have been presented internationally at The Citadel: Ross Centre for Dance (Toronto); Base: Experimental Arts + Space (Seattle); Marmo – Libreria d’Arte Contemporanea (Italy); Archaeological Museum of Messenia (Greece); Danspace Project (NYC); Centre d’Art Marnay Art Centre (France); BRIC Arts | Media House (NYC); and New York Live Arts (NYC), among other venues. S.A.S. is currently a commissioned resident artist of the 2023 HERE Artist Residency Program (HARP) in NYC. Hilary initiated HB² PROJECTS in 2017, as a choreographic platform to expand her collaborations in performance. HB² has presented work throughout NYC as a resident artist of Trisk’s 2023 Resident Artist Program at Triskelion Arts; Norte Maar’s 2018 Dance at Socrates Residency at Socrates Sculpture Park; and Exploring the Metropolis’ 2017-18 Choreographer + Composer Residency at Jamaica Center for Arts & Learning.

Sabrina Canas (she/her, dancer/collaborator) is a first generation Argentine American artist based in Brooklyn, NY. She holds her BFA in Dance from the University of the Arts (UArts), where she performed works by Jesse Zaritt, Netta Yerushalmy, Helen Simoneau, Marguerite Hemmings, Beth Gill, Sidra Bell, and others. In January 2018, she performed and attended the International Association for Blacks in Dance Conference in Los Angeles, California, under the direction of Tommie-Waheed Evans and Kim Bears-Bailey, and in November 2018, Sabrina produced and presented an immersive installation performance in Solmssen Court, under the direction of Niall Jones. Since moving to Brooklyn, Sabrina has presented a collaborative duet at The Craft, performed at BAM Fisher, 92nd Street NY, Triskelion Arts, NOD Theater (SEA), and Uptown Rising Performance Series, and was featured in jazz musician Tony Glausi’s music video, When It All Comes Crashing Down, which premiered in February 2021. Sabrina is currently working with Kinesis Project, SAXYN Dance Works and HB² PROJECTS among other independent project based companies in New York. She is presently creating new work with her collaborators under tidbit collective.

Madeline Hoak (dancer/collaborator) made her NYC debut with Kinesis Project in 2006 and has been a steadfast collaborator since. After many years as a core dancer, Madeline choreographed and produced numerous flashmobs and corporate marketing events with KP. She has also danced with Daniel Gwirtzman Dance Company, and choreographed for Netflix, Target, and Pixar/Disney+ with ImprovEverywhere. Madeline also creates and researches with, through, and about circus. She has performed and presented at international venues and conferences. She is an Adjunct Professor of Aerial Arts (Pace University), a writer (CircusTalk, Cirkus Syd), Editor & Curatorial Director (TELEPHONE), and founder of the Aerial Acrobatics courses at her alma mater, Muhlenberg College, where she taught from 2012-2017. Madeline earned an MA from Gallatin (NYU), where she designed a Circus Studies curriculum focused on spectatorship. She is currently refurbishing her thesis into a full-length book and eyeing movement direction and dramaturgy opportunities. madelinehoak.com

Abigail Linnemeyer (she/they, dancer/collaborator) is a Brooklyn based performer, choreographer and dance activist. She is physically invested in improvisation, partner work, and athleticism. Her queer identity inspires her research into gender in process and community outreach. She is currently working with, Johnnie Cruise Mercer/TheREDprojectNYC, m i c c a, and Kinesis Project. In recent years, she has worked on projects with Kayla Farrish, MICHIYAYA Dance, ChrisMastersDance, Elizabeth Dishman, Megan Flynn, Mark Dendy, Heather Dutton and Grounded Aerial Dance Company. Since Abigail’s relocation to NY in 2021 they have had the opportunity to perform at BAM, HereArts, Dixon place, TADA Theater, House of YES, 92nd St Y, NoOSPHERE Arts, and Lincoln Center among other non-traditional spaces. In addition to Abigail’s creative efforts, she is part of Dance/NYC’s Junior Committee. Abigail is eager to continue to pursue her desire to work in environments that center collaborative values and actively work to uplift queer communities.

Yolette Yellow-Duke (they/she) has been exploring their love for the arts their entire life. Originally from Brooklyn, NY, they received their MA in Dance Performance with honors from the London Contemporary Dance School, where they wrote a dissertation examining cultural appropriation in dance and disparities between dancers of color and white dancers. While at LCDS, they trained at RESET 2020 with Wayne McGregor company members and at GAGA LAB in Tel Aviv. Yolette has also trained at the Bates Dance Festival, Gallim Dance Intensive, Movement Research’s MELT Intensive, and the American Dance Festival, where she was a stagecraft apprentice for companies including Bill T. Jones/Arnie Zane Dance Company, Ballet Folklorico, Shen Wei Dance Arts, and Pilobolus. As a performer, they’ve had the pleasure to work with Johannes Wieland, Renegade Performance Group, Johnny Cruise Mercer, Kayla Farrish, J. Bouey, Thomasin Gulgec, Andre Tyson, Sara Hook, Camilo Godoy, Yun Cheng, and James Avery. Their choreography has premiered at the Edinburgh Fringe Festival, the Here Arts Summer Sublet Series, and Movement Research at Judson Church. For Yolette, dance is rooted in the idea that movement is an act of healing, of resistance against oppressive systems, as well as a form of self-care. Through dance, they believe that we can all find moments of liberation.

Rebecca Kanach (costume design and construction) is a Barrymore Award-winning costume designer. In New York, her work has been seen in at The Lincoln Center, The Guggenheim, Ars Nova’s ANT Fest, La MaMa, The New Ohio, and Joe’s Pub. Regionally, her work has been seen at companies including The Arden Theatre Company, Opera Philadelphia, and People’s Light and Theater Co. Academic work includes Bryn Mawr College, Drexel University, Temple University, Swarthmore College, and University of the Arts. As a skilled draper, many of her builds can also be seen throughout numerous productions in the region.

Rebecca is a co-founder and the resident costume designer of The Bearded Ladies Cabaret, the resident designer of Kinesis Project dance theatre and a company member of Lightning Rod Special, whose performance of The Appointment was listed as one of the New York Times’ Best Theater of 2019. She is a MFA graduate from NYU Tisch, USA 829.

Kinesis Project is a dance organization that creates dance as public art, facilitates educational programs and produces site-specific performances with diverse communities. A company at the forefront of the international discussion of placemaking, art engagement and the cultural imperative of art in public space, Kinesis Project dance theatre invents large scale, space-changing, breath-taking experiences.

In 2020 Riker kept Kinesis Project working and creating consistently on both coasts thanks in part to COVID Relief Grants from Dance/NYC, the Indie Theatre Fund and generous donors.

The company live-streamed multiple performances from Riverside Park South presented by Summer on the Hudson and continued creating and developing new work on both coasts in person throughout 2021 and into 2022, from Vashon Island, to Seattle to NY’s Brooklyn Navy Yard.

Since 2005, Kinesis Project’s work has been experienced in San Francisco, San Diego, Seattle, Boston, Philadelphia, Vermont, Florida and in New York City at such venerable venues as Danspace Project, Judson Church, Joyce Soho, The Minskoff Theatre, The Cunningham Studio, West End Theatre and Dixon Place. In 2019-2020, the company’s work was experienced in Seattle, Brooklyn, NY, Riverside Park, supported by New York City Parks, and in Snug Harbor Cultural Center on Staten Island. The company dances outside in sculpture gardens, universities, and annually since 2006 in Battery Park’s Bosque Gardens and The Cloisters Lawn as well as hosting more than 30 surprise performances all over New York City and the tri-state area as an element of the company’s earned income and outreach programming with volunteer populated flash mobs. Residencies include: Earthdance 2006, Omi International Arts Center 2008, Kaatsbaan International Dance Center 2011, TheaterLab 2014, Adelphi University 2014. Ms. Riker is a 2016, 2017 and 2019 CUNY Dance Initiative Residency Fellow, 2015 LMCC Community Arts Fund grantee, 2019 Upper Manhattan Empowerment Zone Grantee. In 2020 Riker and Kinesis Project received a Dance/NYC COVID Recovery Grant and Indie Theatre Fund Recovery Grant. She has been commissioned by The Brooklyn Botanic Garden for a surprise large-scale work and performances of her work Secrets and Seawalls at Omi International Arts Center, Long House Reserve, Gateway National Park in partnership with Rockaways Artist Alliance. Ms. Riker has received commissions from Carson Fox and the Ephemeral Festival in 2013, 2014, 2015 and 2016 for large-scale outdoor events, NYU in 1998, for a pop-up outdoor work long before “flash mob” was coined, 2006 and 2008 grants from the Puffin Foundation for her work Community Movements, a dance work with community volunteers, Fellowships from the Dodge Foundation, Space Grant Residencies from 92nd St Y, The New 42nd St Studio, Gibney Dance Center, and The Joyce Theatre Foundation, and grants from The New York State Council on the Arts, The Bowick Family Trust, John C. Robinson and Amerigo Falciani and Melissa Graule to support the continued work of Kinesis Project dance theatre.


September 30, 2023
October 1, 2023


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