Panoply Performance Laboratory (PPL) is unbounded by discipline or field, we collect ourselves around processes, theorizing social systems, ideological structures, modes of production, and epistemic genealogies via actions, relational constructs, images, noise, text, interactions, and objects. Past projects have included a durational diner, a silviculture museum, happenings, full-length operas, workshops, solo and duo actions, conferences, concerts, gallery exhibitions, and large-scale collaborative works of constructional institutional critique. Often focusing on conflicts between individualism and collectivity, PPL’s engagements have included residencies across from the NY Stock Exchange on Wall Street and at community colleges, settlement houses, squats, and in other spaces across social spheres. PPL takes one USA tour and one International tour each year, devising site-and-context-specific work outside of their home city of Brooklyn, where PPL is also the name of a studio performance space.
Find PPL’s ideological document HERE.
Click HERE for a list of past and present PPL collaborators.
Find out more about Brian McCorkle’s other projects and work, the composer’s ensemble Varispeed, his solo performances and composition, + find musical downloads HERE.
Find out more about Esther Neff’s other projects including curation, organization, solo work, collaborations with other artists and texts, critical writing, visual art, and other work HERE.
“The performance artist’s body is an evolving frame, freeing the viewer from expectation and offering a sense of anticipation. You get a different experience every time you listen to the same music; watching performers, musicians, the audience and sometimes entire acts shift location gives you a subtle feeling of newness.” David Lagaccia, hyperallergic.com
“This is a uniquely sublime experience, simultaneously startling bizarre and familiarly fitting, like a long forgotten home, or the body from a past life.” Catrin Lloyd-Bollard, newyorkarts.net
“Watching the operas of Panoply Performance Lab is always an enlightening experience. Their work forces the analytical faculties and the imagination to come alive in equal measure. The result, in the author’s experience, may lead to some startling questions about how art, learning, and music can be created and received. For instance, why couldn’t Devo be a free jazz band that played educational songs a la Schoolhouse Rock? What if critical theory professors threw strange objects at their pupils instead of putting them to sleep? Or why shouldn’t a scene like the virgin sacrifice from Rite of Spring be performed not as a ballet, but as an LSD-informed brawl?” John Thomas, Creative Sugar Magazine
“The chaos gives the audience agency to engage with the presented landscape of ideas as they choose.” Will Fulton, nytheatre.com
“All of this, however, is not just simple nonsense; it is hyper-structured nonsense.” Eugene Reznik, L Magazine
“The deft mixing of video, music, and word-play allows audience members to take in whatever they wish, along with ideas on making use of their own time.” Patricia Contino, Flavorpill
“my melting ears are still recovering” Alexis Soloski, The Village Voice
“Neff and McCorkle successfully transpose the satiric, sexual, and political aspects of Brechtian theatre for a wildly fanciful, song-filled exploration of Helene's (Andrea Suarez) inner world.” Patricia Contino, Flavorpill
“Helene is robbed by linoleum salesmen, kills a swan (her husband in a feathered suit), and identifies with Heloise's suffering at Abelard's hands, among many symbolic, esoteric vignettes.” Di Jayawickrema, nytheatre.com