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ABOUT


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ABOUT


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Geoff Kanick is a performer-director-theatre maker. 

He began juggling knives at age 13 (torches came later that year), and  got his first straight jacket at age 14. Specializing in the vaudeville tradition, Geoff performs a unique blend of new circus, improvised comedy, physical theatre, and world-class illusion. Geoff graduated with distinction from the Master’s Program in International Acting at East 15 in London. He has also trained at Shakespeare’s Globe Theatre and at the London Dramatic Academy. He was named Seattle Performing Artist of the Year in 2012. Geoff has toured one-man shows across the country. He was an original cast member of Drama Desk award-winning Queen Of The Night at the Paramount in New York City's Times Square, in which he starred as Sarastro and served as a member of the creative team. Most recently, Geoff served as Resident Director of Randy Weiner and Ryan Heffington’s immersive spectacle Seeing You.

Geoff is Co-Founder and Co-Artistic Director of NYC-based LubDub Theatre Co.

 

ARTIST STATEMENT //

I am in love with storytelling. I believe there is beauty in myth and wonder in science. 

As an artist, I am preoccupied by questions that revolve around themes of memory and ritual, beauty and absurdity, silence and waiting, the macro and micro.

My work emerges from physical improvisation, found text, writing prompts, and images.

I am most interested in ensemble-devised work. I am committed to making theatre that views the audience as a key collaborator, dissolving the boundary between performer and audience and inviting everyone into the conversation.

I like to begin with questions that grow and shift into physical gesture. Through my work with LubDub Theatre Co, I have become interested in a mode of storytelling that relies on what we call total language: fluid storytelling that shifts between words, dance, physicality, music, magic, and design. As a company, LubDub writes, embodies, connects, re-writes, re-embodies, re-connects, allowing form and content to develop symbiotically. Much of the work I make is wordless. I strive to make theatre that is fiercely physically, because I believe in the body’s ability to communicate universal truth beyond linguistic, cultural, and other barriers. For me, the most powerful moments on stage – as in life – happen in silence. In the moments between

Here's to oral tradition, myth, and deep truth - to being human, sitting around a table together, and delighting in mystery.