Circle Course

On July 2nd 1937, famed American aviatrix Amelia Earhart and her navigator Fred Noonan set off for the next to last leg of their infamous “round the world” flight. This previously unattempted route, from Lae, New Guineato HowlandIslandin the central Pacific Ocean, would be the longest and most difficult of their entire trip. To this date, they and their plane have yet to be found and their story continues to inspire both curiosity and fascination. Circle Course is the dance/theater excavation of this flight. This is not their story, but our study of what remains. This work intertwines the personal and historic and is an intimate excavation of human endurance, ambition, collaboration, and actions beyond the rational.

  • NOW #2 7/06
  • Circle-Course
  • NOW #2 7/06
  • NOW #2 7/06
  • NOW #2 7/06
  • NOW #2 7/06

CREDITS

Choreographed and Directed by Mira Kingsley
Performed and created in collaboration with Darius Mannino.
Co-Directed by Chi-wang Yang
Written by Mira Kingsley, Darius Mannino, Alana Macias, Amelia Earhart and Fred Noonan.
Sound Design by Colbert S. Davis
Lighting Design by Pablo N. Molina
Co-Scenic Design by Torry Bend
Video Design and Co-Scenic Design by Frederique de Montblanc
Costume Design by Kate Eloise Mallor

PRODUCTION DATES & VENUES

2005 California Institute of the Arts New Works Festival, Los Angeles, CA
2006 Roy and Edna Disney/CalArts Theater (REDCAT) Now Festival, Los Angeles, CA
2006 Two River Theater Company, Red Bank, NJ
2008 University of California Santa Barbara, Santa Barbara, CA
2008 The Katmandu International Theater Festival, Katmandu, Nepal

FUNDERS

The Mid Atlantic Arts Foundation
The National Endowment for the Arts
The Andrew Mellon Foundation
California Institute of the Arts
Roy and Edna Disney/CalArts Theater (REDCAT)

REDCAT

The Two River Theater Company
The University of California Travel Grant

REVIEW

“Circle Course by Mira Kingsley may have been the first time Nepali audiences saw a female actor on stage who exhibited raw physical strength and jaw-dropping endurance along with feminine grace, emotions, and intelligence – all at the same time. This play inspires us, not only in the way it breaks conventions and norms of traditional theatre, but also in the struggle we see in actors as well as in the ghost of the woman who inspired it.”
- The Kathmandu Post