DYLAN BANDY is a musician, actor, director, and producer.
She has collaborated with and worked for artists Reynold Reynolds, Maja Bajevic, Trey Gunn (King Crimson), Damian Rebgetz (Gob Squad), Gracie Hagen (Illusions of the Body), and others.
She has performed in a myriad of new works including Dinner Dance at the Museum of Contemporary Art (Chicago), Voices of Light/Joan of Arc at the Marriott Marquis Times Square (NY), The Lost at Haus der Kulturen der Welt (Berlin), Too be continued... at the DAAD Gallerie (Berlin), The Waiting Room at the Whyte Museum (Banff), and various concerts.
Her "live sound installation," Strangers in a Song, has shown at the Hebbel Am Ufer Theater (Berlin), Theater Kana (Szczecin), Theaterhaus Gessnerallee (Zürich), BETA Fest (Norwich), Mica Moca (Berlin), and the Chicago Home Theater Festival.
Her current projects include BITCHCONOCLAST, a feminist podcast with her mother Sonya Lea, and SHE MUST DIE a cabaret with 3M overhead projector.
SHE MUST DIE
SHE MUST DIE is a classical-contemporary cabaret with 3M overhead projector.
Soprano Brittany Loewen’s “controlled and powerful voice”* propels feeling through sound; while the folk-pop duo Laura Dern steadies the brimming emotion with songs about disappearing and forever. Nicole Geslani creates dreamy scenes with analog overhead projector. And a small ensemble of piano and cello reinforce the immersive sonic landscape.
The arias, from the operas La Gioconda, Madama Butterfly, Otello, and Suor Angelica, lay the foundation for SHE MUST DIE, as at the end of each aria, the soprano dies, and dies over and over again. The band Laura Dern, comprised of guitarist-vocalist Cydney Asher and vocalist Dylan Bandy, compliment Loewen’s powerful sound with a soft, vulnerable intertwining of voices and unsettling harmonies. SHE MUST DIE attempts to reconcile each death—each tawdry demise—with something overwhelming.
SHE MUST DIE was developed in reaction to the misogyny inherent in the plots of many operas. This production re-envisions the operatic death as a jumping-off point for a larger discussion about gendered experience. The work comments on body politics, romantic iconography, and moral necessity.
*Perform Ink Chicago Photos by Sara Benton
DUET FOR TWO FEMALES
DUET FOR TWO FEMALES is a story about moshpit nosebleeds, shithead boyfriends, and twatblocking. A short film by Angelica Malerba. In post-production.
STRANGERS IN A SONG | HAU
STRANGERS IN A SONG is a live audio installation created by myself & German director Sibylle Polster.
It played and won at the 100º Festival in Berlin, a curated experimental theater festival for young artists.
Nooks and crannies of the festival are transformed from unassuming utility spaces into intimate lounge areas, each with a phone. Singers are trapped in enclosed spaces, behind windows, in closets, awaiting the rush of calls between main-stage performances. We are the desperate attempt to pull focus; we are the small symbiotic creature on the back of the institution. Singers and audience are both visible to passersby, but not to each other. It is voyeurism and spectacle. It is a phone-sex line with songs.
Strangers in a Song attempts to offer the simultaneous experience of the intimacy of a whisper with the public embarrassment of feeling lost in that same whisper. This awkward pairing is reflective of the impact of technology in our era. The diffusion of connection. How to be in multiple places at once.
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This is my first short film. It was made for under $200. It is about a woman who is turning 30, and doesn't know what the fuck she's doing with her life. But, she just bought a new couch. [NSFW]
Written & Directed by Dylan Bandy Cinematography by Gracie Hagen Editing by Regina Sobel
STRANGERS IN A SONG | MICA MOCA
STRANGERS IN A SONG is a live audio installation created by myself & Sibylle Polster.
It premiered September 3rd, 2011 at Mica Moca Berlin, then toured internationally to Norwich, Stettin, and Zürich. It explores intimacy and voyeurism in the technological age.
At a vault-making factory in the Wedding district of Berlin, a gallery of objects invites participation. Phones numbers and a list of songs are displayed. Singers wait in factory rooms not visible to the caller. The phone rings: "I'd like the number two." A concert by telephone.
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Silent film, The Lost by Reynold Reynolds, is based on material filmed in Berlin in the thirties. Turbulent times during the rise of the Nazi regime put a halt to the production of the film. Reynold Reynolds discovered, remade and completed the film between 2011-2013.
The story is told through the eyes of a young English writer, Christopher, who comes to Berlin and moves into a cabaret where an eccentric old man adopts young performers, dancers, artists and musicians to live and work in his building.
This is an excerpt from the remaking of the film. A cabaret scene.
The Lost (excerpt)
EXPOSURE BERLIN is a site-specific piece of contemporary musiktheater written for Stummfilmkino Delphi, a restored 1920s silent film cinema in Berlin.
EXPOSURE BERLIN is based on the play The Breasts of Tiresias by surrealist Guillaume Apollinaire. It performed in October 2012 to sold-out houses and great acclaim from the publications Sugarhigh Berlin, Tagesspiegel, and BZ.
Photos used with permission from Per Aspera Productions.
BOHEME IN A BAR
Boheme In A Bar is a site-specific opera with Ryan Center & Chicago Opera Theater Young Artist singers. The concept is La Boheme staged immersively for the Act One Pub in Rogers Park, Chicago. With keyboard, small string ensemble, and an operatic chorus, the lush sonic atmosphere is the swirling marketplace, then sparse again, back at the dirty, dank apartment of two broke artists. Sung in the original Italian, with clowns for interpretation, this production was praised for its emotional truth, approachability, and very fine singing.
April 2014 at Act One Pub | Mayne Stage in Chicago, IL
Directed by Dylan Bandy Musical Direction by Sarah Jenks Produced by /kor/ Productions With singers: Zach Vanderburg, Johanna Moffitt, Loren John Battieste, Lauren Berman, Daniel Grambow, Keanon KC Kyles, and Mario Aivazian and vocal ensemble Clown narration by Josh Hambrock & Rob Grabowski