Suitcase Full of Dreams - Saturday Evening
an intimate table read
Feb 25, 8:00 PM – 9:00 PM
East Point, 2823 Church St, East Point, GA 30344, USA
Fly on a Wall Presents Inaugural Big Show recipient Lucy Smith’s Suitcase Full Of Dreams.
This ticket is selected for Saturday, February 25th @ 8pm.
**Limited seating available -- online ticket sales end 2 hours prior to showtime**
If there are any tickets left, they will be sold at the door.
Friday, February 24, 8pm
Saturday, February 25, 8pm
Sunday, February 26, 2pm
The Windmill Arts
2823 Church Street
East Point, GA 30344
**The Windmill Arts has a small parking lot we reserved for ADA people. Please do not park in any surrounding business parking lots. Free residential parking can be found along Thompson Street, adjacent to The Windmill Arts.**
If you need financial assistance, please reach out to Lucy Smith or a Fly Team Member.
Drinks and snacks available by donation
For Lucy, Suitcase Full of Dreams has become an intimate table read where the performance is not fixed, the Audience is not really an Audience, and she is less of a performer and more of a guide. It is a question, it is a ritual, and it is a love letter to the present.
Fly on a Wall’s Big Show is a program that awards an artist $2,000 and a weekend of shows at The Windmill Arts Center. The Big Show recipient is chosen through an application process that is available to artists who have participated in Fly on a Wall’s annual works-in-process series Excuse The Art (ETA). The inaugural Big Show artist Lucy Smith is presenting Suitcase Full Of Dreams, a one-person show that explores the nature of performance, of community, of togetherness, and scripts. Lucy says that her Big Show process is like coming back to life. In this rearrangement/transformation, she has begun the process of undoing the need for a boss figure and outsourcing her voice as a theater-maker. A process she describes as radical for her.
KNOW BEFORE YOU GO:
- Suitcase Full of Dreams will take place in the black box theater at The Windmill Arts Center for a small audience of 27 people.
- The audience will be seated onstage at a table with the Performer.
- Food items such as clementines, hot dogs, and water may be used in the performance. However, the audience is not expected to eat the items.
- The performance is 75 minutes with no intermission.
- The performance does not include any fog, haze, or strobing lights.
- The Windmill Arts Center is an ADA compliant building, for more information about the building please visit https://www.thewindmillatl.com
- There is a small parking lot at The Windmill Arts Center and we prioritize those with ADA accessible needs. If you need an accessible parking space, and didn’t select the option when you were checking out of the ticket purchase, please contact Christina Massad at Christina@flyonawall.buzz. Your ADA accessible parking space will be clearly labeled with your name. Please follow signs to enter the building.
- Additional street parking can be found along Thompson Street, next to The Windmill Arts Center. Please do not park in the surrounding parking lots of other businesses.
- If you have any specific accessibility needs, please contact Christina Massad at Christina@flyonawall.buzz
- There is a booth in the lobby of The Windmill Arts Center where you can:
- Purchase tickets
- Purchase refreshments via a suggested donation
- Donate to Fly on a Wall
- Ask for assistance
“I am still in happy astonishment that I am the inaugural recipient of BIG SHOW. It has deeply rearranged me and is continuing to change me from a state of waiting and numbness to a place of inspiration and play in my daily life, my art practice, and my community. The Fly on a Wall team has helped lift me out of hierarchical concepts that I was trained in and encouraged me to listen to my intuition, to Life, to my heart, and to fellow artists. This process has brought me closer to questions of intimacy, failure, exhaustion, renewal, and JOY. Each of the extraordinary artists at Fly on a Wall has opened a door to a return to freedom in me that I didn’t know would happen in this lifetime! To say that I am grateful is an understatement. I’m still exhaling. It’s been healing, it’s been a beginning for me as a middle-aged single mama. To have the space to rehearse, the wisdom and depth of the Fly on a Wall team and the financial offering to create and live in these questions has not just changed me, but healed my ideas of what life can be and brought much joy and freedom to my relationship with making performance as well as my relationship to myself as a mother, daughter, sister, citizen, spirit.” - Lucy Smith
I moved back to Atlanta, where I grew up, in 2012 after living in New York City for most of my adult life. Returning to family, to myself around family, and a series of major life events all happened very rapidly: I got married, got pregnant, had a child, got divorced, and went to therapy for the first time. Now seven and half years later I am still in therapy, am a single parent of a magical intense being, and have begun a new art practice.
I am interested in the return.
I am interested in going off script.
I am interested in the loss of joy and fun and how to court them.
I am interested in letting failure be.
I return with experience of years of movement training, acting, and performing.
I am constantly asking:
How is theater like the theater of my life?
When I am with my family, what character am I?
Can I go off script?
Am I the character I was told I am and do I really want what I was told I wanted?
Is obedience a form of love?
How, as a parent, am I putting a costume on my child before they get to choose their costume/set/lighting/script/character?
With all my years of learning how to be malleable, for directors and bosses, and even intimate relationships-is this still a strong foundation to find my voice? To make art?
How can I use my knowledge of the theater’s definitions of what people are, and how we behave, to perhaps make things a bit more transparent and true?
Is theater broken? Does it need ritual?
Yes, yes I think it does.
The process of making “Suitcase Full of Dreams” has shown me that a lot of the dreams I had are rotting. The dreams that I once dreamt are not mine and perhaps never were.
So now I am asking the questions about how to dream again and I’m listening. I am finding the answers to be mysterious. With this work I am making an offering of my dreams to the Theater. A ritual for clarity, for healing the exhaustion. A ritual to find joy again. For me, for my son, for Life, for the vitality and importance of Dreams themselves.