Mike Daisey; 01/16-17/2015

mikedaisey_mirror_cube-photoursawaz

Faster Better Social

Written and Performed by Mike Daisey
January 16–17, Friday–Saturday
8:00 PM, Wright Memorial Theatre

Daisey has been called “the master storyteller” and “one of the finest solo performers of his generation” by the New York Times. His groundbreaking monologues weave together autobiography, gonzo journalism, and unscripted performance to tell hilarious and heartbreaking stories that define our age. In Faster Better Social he interrogates the disrupted landscape of technological change—where smartphones have transformed how we see the world around us—and our dissolving sense of privacy, our commoditization as clusters of consumer information, and our shrinking sense of time as we train ourselves to speak in 140 character haiku. What are we gaining? What are we losing? And what are we becoming? Sponsored by the Performing Arts Series and the Theatre Program. NEW! Post-show talk with the artist each night, mediated by a member of the Theatre Program faculty.

Tickets: $20/15/6. Go to the online box office>>

Photo Ursa Waz

Read the press release>>

 

NEW!
January 16, Friday

A Conversation with Mike Daisey

4:15 PM, Mahaney Center for the Arts, Room 232

In advance of his two solo performances at Middlebury, performer Mike Daisey will field questions from students in Alex Draper's Winter Term class "Closing Arguments:  The Courtroom on Stage," and Dana Yeaton's class "Oratory: A Speechmaking Studio."  Members of the college community and the public are welcome to listen in and participate in this dialogue about theatre, journalism, truth, and social change.
Free


Video


Mike Daisey perfoms an excerpt from "The Secret War." Please note: excerpt contains adult content and language.


About the show
FASTER BETTER SOCIAL

Created and Performed by Mike Daisey
Directed by Jean-Michele Gregory

Mike Daisey has been called "the master storyteller" by the New York Times for his groundbreaking monologues which weave together autobiography, gonzo journalism, and unscripted performance to stories that define our age through a blend of hilarious comedy, brilliant observation, and pitch-perfect timing. In FASTER BETTER SOCIAL he speaks about where we live right now—in the disrupted landscape of technological change, where smartphones have transformed how we see the world around us. It's about our dissolving sense of privacy, the commoditization of each of us as clusters of information, and our shrinking sense of time as we train ourselves to speak in 140 character haiku. Instead of railing against technology, Daisey asks essential questions about the conversation we are failing to have in the struggle over the ground rules of our new world order. By examining history, illuminating the unexpected, and using fierce humor, Daisey makes the case for each of us forging a new covenant between our selves and—TOO LONG DIDN'T READ LOL K THX BYE.


Artist Biography

Mike Daisey has been called "the master storyteller" and "one of the finest solo performers of his generation" by The New York Times for his groundbreaking monologues which weave together autobiography, gonzo journalism, and unscripted performance to tell hilarious and heartbreaking stories that cut to the bone, exposing secret histories and unexpected connections. His controversial work, The Agony and the Ecstasy of Steve Jobs, was recognized as one of the year's best theater pieces by The New York Times, Wall Street Journal, The Washington Post, Seattle Times, Seattle Weekly, San Jose Mercury News, and The San Francisco Bay Guardian.

As a playwright, his transcript of The Agony and the Ecstasy of Steve Jobs was downloaded over 100,000 times in the first week it was made available. Under a revolutionary open license, it has seen more than forty productions around the world and been translated into six languages. The first Chinese production opened last year in Beijing, and will tour to Hong Kong and Shenzhen this year.

Since his first monologue in 1997, Daisey has created over fifteen monologues, including the critically-acclaimed The Last Cargo Cult, the controversial How Theater Failed America, the twenty-four-hour feat All the Hours in the Day, the unrepeatable series All Stories Are Fiction, the four-part epic Great Men of Genius, and the international sensation 21 Dog Years. Other titles include If You See Something Say Something, Barring the Unforeseen, Invincible Summer, Monopoly!, Tongues Will Wag, I Miss the Cold War, and Teching in India.

He has performed in venues on five continents, ranging from Off-Broadway at the Public Theater to remote islands in the South Pacific, from the Sydney Opera House to an abandoned theater in post-Communist Tajikistan. He's been a guest on Real Time with Bill Maher, the Late Show with David Letterman, a longtime host and storyteller for The Moth, as well as a commentator and contributor to The New York Times, The Guardian, Harper's Magazine, The Daily Beast, WIRED, Vanity Fair, Slate, Salon, NPR and the BBC. In a brief, meteoric career with This American Life, his two shows are the most listened to and downloaded episodes of that program's eighteen year history. He is currently at work on his second book, an anthology of his monologues, and he stars in the Lawrence Krauser feature Horrible Child. He has been nominated for the Outer Critics Circle Award, two Drama League Awards, and is the recipient of the Bay Area Critics Circle Award, five Seattle Times Footlight Awards, the Sloan Foundation's Galileo Prize, and a MacDowell Fellowship.


Press Quotes

"A monologuist who always threatens to burst out of his chosen form—funny, literate and provocative."--Chicago Tribune

"Sharp-witted, passionately delivered talk about matters both small and huge, at once utterly individual and achingly universal."--Boston Globe

"The master storyteller—one of the finest solo performers of his generation."--The New York Times

"Daisey's skill is that he is able to talk about the historical and make it human, the personal and make it universal, so that the listener is both informed and transformed."--Paper Magazine

"A charismatic performer, his shows have the insightful hostility of the best comedy."--The New Yorker

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