Carrie Ahern Dance

Thurs-Sun
April 26 to May 13th
Thurs & Fri 9pm
Sat & Sun 8pm

VERY LIMITED TICKETS AVAILABLE

General tickets (standing room only) $25 in advance
$35 at the door

VIP tickets (seated) $50 in advance
$60 at the door

Performances at
Dickson’s Farmstand Meats
(yes, it’s a butcher shop)
Inside the Chelsea Market
75 Ninth Ave
(between 15th and 16th St)

* more on Borrowed Prey

Borrowed Prey in Pork and Mead Magazine!

Click here and read pages 80 to 84

Conceived, researched, directed and performed by Carrie Ahern
Original score by Anne Hege
Featuring text by Temple Grandin and Carrie Ahern
Dramaturgy by Vanessa DeWolf
Set and Lighting Design by Jay Ryan
Costume by Naoko Nagata
Running time: 60 minutes

Borrowed Prey is an investigation of our relationship to the animals that most of us consume. Bringing together 4 strands of research: hunting, butchering, and slaughtering of animals, plus the work of animal behavior scientist and autistic Dr. Temple Grandin, I am attempting to illuminate more about the true “farm to table” process and our human capacity for empathy. The work includes butchering of a lamb and meat will be made available for sale post show.

• Buy tickets for Borrowed Prey

Borrowed Prey is made possible, in part, through Project: Space Available, a residency program in Seattle and The Field’s Artist Residency program, supported by the Lambent Foundation Fund of the Tides Foundation. Carrie Ahern Dance is a 2011 NYFA BUILD grant. BUILD is made possible through the generous support of the Booth Ferris Foundation, the JP Morgan Chase Foundation, the Lambent Foundation and the Harkness Foundation for Dance. Temple Grandin text used with her permission

The IT Awards were organized to bring recognition to the great work being done in Off-Off-Broadway and help create a community base for the estimated 40,000 artists working in the Off-Off-Broadway venue.

“The (Borrowed Prey/butcher) demonstration has been spectacular.”
—Jack Berkowitz
“Fascinating. I think it is really important for people to see where their food comes from and not just see a piece of bacon on a plate.”
—Manhattan resident Sarah Chiapetta
“You are the voice of the animal.”
—Jennifer Hilton
“ If you go, you'll feel the hairs on your arms tingling....Ahern's choreography and the Bacchante-like performances of her fellow dancers--Donna Costello, David Figueroa, Kelly Hayes and Jillian Hollis--can often sizzle. They take to this work with feverish abandon and put their bodies--maybe even their sanity--on the line.”
—Eva Yaa Asantewaa, Infinite Body (Nov 2009)
“ Theories about creation tend to take one of two routes, either there was always something, or, before there was, there was not. Sensate, Carrie Ahern's new work at the Brooklyn Lyceum, speaks strongly for the first of these ideas. ...I realize, on the walk home, rather than watching the creation of the universe, we are watching what is left after the world has ended. Sensate is disturbing.”
—Meghan Frederick, www.I DANZ.com (Nov 2009)
“ The whole experience is continually shifting over three hours and will probably shift subtly over the course of the five performances, making this one of those pieces that invites multiple viewing...Only by spending some time inside the piece do all the meanings of the word sensate seep in.”
—Quinn Batson, offoffoff.com (Nov 2009)
“ Last night I walked into Sensate mid-way through the second of three cycles and was immediately entranced and enveloped by its world, an other world both deep in the past and far into the future... what I believe makes the piece a complete success and so unique that anyone with an interest in dance or performance must come and experience it, is the perfect, full, and flowing use of the space.”
—Harrison Owen, Fingered Media.com (Nov 2009)
“ Moreover, the throbbing, gyrating and convulsions on view at a recent "Sensate"rehearsal won't remind anyone of "Swan Lake.”
—Philip Boroff, Bloomberg.com (Nov 2009)