Accumulated and Revised (2017)

Photo © Nir Arieli Logo © Jacob Cooper

Photo © Nir Arieli
Logo © Jacob Cooper

Accumulated and Revised, a duet between cofounders Jason Collins and Lindsay Harwell, is an exploration of identity through the examination of traditional presentation, the desire for individuality, and romantic love versus self-love.

Performers: Jason Collins, Lindsay Harwell
Costume Coordinator: Victoria Bek
Music: Billie Holiday, Duke Ellington, Frank Sinatra

This work was produced with support from the Chez Bushwick Residency Program.

Soaking WET
September 14-17, 2017
West End Theater, Manhattan

Chez Bushwick Artists-in-Residence at CPR
September 22, 2017
Center for Performance Research, Brooklyn

Moving Men
December 5, 2017
Dixon Place, Manhattan
Curated by Doug Post

Anyone? (2018)

© Nir Arieli

© Nir Arieli

Performance, a trio by all three cofounders, continues to address the disconnect between audience and performers in traditional one-sided venues. In conjunction with Accumulated and Revised, it serves as development for a final evening-length piece to be presented on a stage.

Performers: Jason Collins, Lindsay Harwell, Ingrid Kapteyn
Music: The Mamas & the Papas, Irma Thomas, Bobby Vinton

Soaking WET
September 27-30, 2018
West End Theater, Manhattan
Presented by David Parker & Jeffrey Kazin

Almost (2019)

© Steven Schreiber

© Steven Schreiber

Almost, a solo HEWMAN made on Ingrid, investigates the dynamics of performance: What is it to see yourself? To be seen? To see others? To see others seeing you? The solo plays with those questions through the lens of being a woman, with varying degrees of deference and defiance to the stereotypes we all know. Like Accumulated and Revised and Anyone?, Almost is an excerpt of a work-in-progress that will be HEWMAN’s first evening-length piece made specifically for a proscenium theater.

Performer: Ingrid Kapteyn
Music: Mary Costa, Édith Piaf

Hi Artist
August 14, 2019
51 Local, Brooklyn
Presented by Hi Artist x Airbnb Experiences

Since our inception in 2014, HEWMAN has focused on presenting installation work in unconventional venues where the audience is free to move at will throughout the performance. HEWMAN's latest works set the challenge of creating for a traditional proscenium theater without sacrificing our main choreographic constant: to establish an authentic and close relationship with the audience that emphasizes the similarity between performer and viewer, not the difference. By applying what we have learned from our installation work to the stage, we hope to keep expanding the potential for equality and empathy between performers and viewers.