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every.single.one
By Cherie Sampson
Created by Cherie Sampson
Playing at
Show Description
A one-woman multimedia performance portraying intimate personal, familial and community stories about hereditary cancer, integrative oncology and survival from a patient's perspective of modern medicine.
Genre and Content
Content Warnings
The creators say this show is appropriate for ages 12-15 and up
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Seat Reservations and Show Tickets
| Add to Schedule | Date | Time | Ticket Options | Quantity | Purchase |
|---|---|---|---|---|---|
| Wed 08/07 | 10:00 PM | ||||
| Fri 08/09 | 8:30 PM | ||||
| Sun 08/11 | 2:30 PM |
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Cast and Crew
Cherie Sampson
Creator, writer, performer & producerCherie Sampson has worked for thirty years as an interdisciplinary artist in site-based performance, installation, video art and dance. She has exhibited internationally in art-in-nature symposia, video/film screenings and exhibitions in many countries, with solo performances presented in the U.S., Finland, Norway, Canada, Cuba, Spain, South Korea and the Netherlands (in a performance attended by the Dutch Queen in 2003). Recent exhibitions and public presentations include “The Quality of Being Fleeting” at the Currents 826 Gallery for the Currents New Media Festival 2022 in Santa Fe and “Art, Cancer & Transformation”, a solo exhibition at the Joan Hisaoka Gallery at the Smith Center for Healing & the Arts in Washington D.C. In 2018, the Pori Museum of Art in Pori, Finland acquired media documentation of Sampson’s site-based installations and performances created over a 20-year period in Finland for their permanent collection. Sampson’s performance for the 2024 Minnesota Fringe Festival, “every.single.one,” was a 2023 finalist for the Jane Chambers Award for new feminist plays and performance texts. A theatrical reading of “every.single.one,” was presented as one of three featured full-length plays for the 2022 Mizzou New Play Series, University of Missouri Theater. In the fall of 2023, it was performed live for the 20th Annual Conference of the Society for Integrative Oncology (SIO) at the Banff Center for Arts & Creativity in Canada and for the Midwest Women in the Arts Symposium (MWAS) at Bradley University in Illinois. Sampson is the recipient of many grants including a Puffin Foundation Grant, two Fulbright Fellowships (Finland, 1998 & 2011), a Finnish Cultural Foundation Grant (North Karelia) and multiple university research grants, including funding from the Ellis Fischel Cancer Center Research Administration at the University of Missouri and an Arts & Humanities Research and Creative Works Fellowship from the Office of the Provost. Sampson is a Professor in the School of Visual Studies at the University of Missouri, teaching in the Art and Digital Storytelling programs. She received her MFA degree in Intermedia & Video Art from the University of Iowa in 1997. In patient advocacy, Sampson serves in several organizations: the Society for Integrative Oncology (SIO), Facing Our Risk of Cancer Empowered (FORCE) and the Congressionally Directed Medical Research Program (Breast Cancer Research Program).
Cherie Sampson
Video projection & sound design, AV-post-production, Co-choreographerCheryl Black
Director & DramaturgeCheryl Black is a Curators Distinguished Professor Emerita from the University of Missouri, where she was also Catherine Paine Middlebush Chair in Fine and Performing Arts from 2015-20. She is a Fellow of the College of Fellows of the American Theatre, a Fellow of the Mid-America Theatre Conference, and a former President of the American Theatre and Drama Society. She is the author of The Women of Provincetown, 1915-1922 (University of Alabama Press, 2002), co-editor, with Jonathan Shandell, of Experiments in Democracy: Interracial and Cross-Cultural Exchange in American Theatre, 1912-1945 (SIU Press, 2016), co-editor, with Sharon Friedman, of Decades of Modern American Drama: the 1990s (Bloomsbury Methuen 2018), editor of Broadway Luminaries: Great North American Stage Directors (Bloomsbury Methuen 2020), and has published essays in Susan Glaspell in Context, ed. By J. Ellen Gainor (Cambridge University Press, 2023), American Literary Culture in the 1920s (Cambridge University Press, 2017), Blackwell’s Companion to American Literature, ed. by Susan Belasco, Theresa Strouth Gaul, Linck Johnson and Michael Soto (Wiley Blackwell, 2020), Palgrave Handbook of the History of Women on Stage (2020), Staging a Cultural Paradigm: the Political and the Personal in American Drama (edited by Barbara Ozieblo & Miriam López-Rodriguez, 2003), and numerous journals. Recent dramatic adaptations include Performing Bohemia: The Masses, the Players, and The People, Pride and Prejudice, The School for Scandal, Hedda Gabler and Dracula (with LR Hults), Much Ado About Nothing (with Patricia Downey), As You Like It (with Adrianne Adderley), and William Wells Brown’s Leap for Freedom (co-author Renee Pringle, with assistance from mentor Sue Zizza) for the National Audio Theatre Festival. She is a member of AEA-SAG and has directed 20+ productions at the University of Missouri during her professorship there.
Anjali Tata-Hudson
Movement & choreographic direction, co-choreographerOver the past 25 years, Anjali Tata-Hudson has cultivated and deepened her understanding of the capacity of movement/dance/exercise to heal the whole person. She has used her dance practice and performing career as a mode of self-expression and healing, incorporating post-modern choreographic tools and movement with core principles and techniques of Bharata Natyam, Yoga, and modern dance. She has been practicing yoga for 30 years and dance for 40 years. Her training included 15 years of Bharata Natyam under the tutelage of her mentor Viji Prakash and over 10 years in Yoga and Modern dance and holds an MFA in Dance from UCLA’s Department of World Arts & Cultures in 2002. During the peak of her career as a performer, Tata-Hudson danced at many prestigious venues, both nationally and internationally, such as the Ford Amphitheater, Jacob’s Pillow, Hollywood Bowl, Highways and the Music Center as well as temples and venues in India and collaborated with a diverse range of artists. She founded her dance school in 2004 and has had 10 students complete their Arangetrams under her tutelage. Tata-Hudson is a licensed Physical Therapist Assistant, Certified in the APPI method of teaching both Mat and Reformer rehab-based Pilates, and holds a certification from Center for Yoga in teaching over 500 hours. She has developed a teaching methodology informed by her experiences as an educator in settings ranging from private studios, community centers, universities, high schools and clinics. As part of the team of therapists at Performance Rehab for Kansas City Ballet, she has developed injury prevention and body conditioning lectures/classes for dancers and presented at local studios and colleges. She has also shared and developed injury prevention tailored to Bharata Natyam dancers in schools across the Kansas City area.
Charles Gran
ComposerCharles Gran writes for traditional concert ensembles as well as multi-media performance and musical-theater. His concert and theatrical compositions have been performed The Theatre Building (Chicago), Academy for New Musical Theater (Los Angeles), Glensheil (Johannesburg), The Colony Theater (Los Angeles), Skirball Cultural Center (Los Angeles), Armory Center for the Arts (Pasadena), Highways Performance Space (Santa Monica), Millikin University (Illinois), Colby College (Maine), Lane Community College (Oregon), Santa Monica College, University of Puget Sound, and the University of Costa Rica. Charles holds a Ph.D. in Music Composition from The University of California, Los Angeles and is Professor of Music in the Department of Music at Truman State University. This is his second collaboration with Cherie Sampson.
Ned McGowan
Composer (for Kali dance)Ned McGowan (1970) is a composer, flutist, researcher and teacher, born in the United States and living in Amsterdam, the Netherlands. Known for rhythmical vitality and technical virtuosity, his music has won awards and been performed at Carnegie Hall, the Concertgebouw and other halls and festivals around the world by many orchestras, ensembles and soloists. As a flutist he plays classical, contemporary and improvisation concerts internationally and he has a special love for the contrabass flute, in 2016 releasing the album: The Art of the Contrabass Flute. Ned McGowan is a Pearl Artist, playing the Pearl PFC-905 contrabass flute. His works include Concerto for iPad & Orchestra (2012) which has been performed in the Netherlands, the United States and Brazil, Workshop (2004) for recorder and tape, six pièces mécaniques (2012), written for Calefax & Eric Vloemans, Cleveland Times (2016), commissioned for the NFA Flute Convention, Bantammer Swing (2008), a concerto for contrabass flute and orchestra, which premiered in Carnegie Hall by the American Composers Orchestra, Garden of Iniquitous Creatures (2016), for the Grammy Award winning sextet Eighth Blackbird, and the recent Concerto for Indian Percussionist, for BC Manjunath.
Kandice Grossman
Voice Actor for supporting characterKandice Grossman has maintained a love of the arts and a passion for dance and theater all her life. Kandice began studying Middle Eastern dance as a teen and has studied with some of the nation’s most renowned teachers. In 2002, she founded Moon Belly Dance Studio in Columbia, MO, which offers classes and performances in the local area and Midwest region. Kandice is also an assistant professor of sociology at Truman State University with more than twenty years of teaching and academic research experience in the areas of gender, sexuality, and environmental issues. Finally, Kandice is a genetic cancer previvor who advocates for women with a family history of breast cancer to get genetic testing and preventative screenings.
Judy Bales
Costume designBuilding on 30 years of experience in diverse artistic endeavors, including fiber artist, fashion artist and public art design team member, Judy Bales creates art that is the exciting and improbable marriage of cold industrial materials and the sensuous qualities of nature. She utilizes industrial materials, many of which are found, recycled, or salvaged, in an ongoing effort to reveal beauty in unlikely places. The broad range of Bales’ work is clearly unified by a sensibility that asserts the power of an artist to create beauty from anything and convey that simple but vital truth to an audience. With various combinations of fiber, metal, wood, and other materials, she takes seemingly intractable disparities between the visual and the tactile, between the industrial and the aesthetic, and reconciles them in favor of beauty. By manipulating materials in ways and for contexts for which they were never intended, whether mangling the precise configuration of a plastic grid or turning steel and wire into a dress that is a cross pollination of prom and punk, she embraces creative transformation and a form of subversion that’s alluring and nourishing to the imagination. Bales, who received both her BFA and MFA degrees from the University of Georgia, majored in painting as an undergraduate and completed her post-graduate work in fiber art. This combination of very distinct even unlike disciplines has served her well and helps to explain her unique work.
Xiomara Cornejo
Dramaturge (2020-22)Dr. Xiomara Cornejo (she/her/ella) is a Salvadoran American theatre director, and award-winning designer, playwright, dramaturg from Compton, California. Her professional work includes theatre directing, after-school arts programming, social justice theatre, and community organizing. Xiomara received a BA in Theater Directing/Performance from California State University Long Beach. During that time, she directed José Rivera’s References to Salvador Dali Make Me Hot at the Museum of Latin American Art and Luis Valdez’ Los Vendidos, which toured throughout local high schools in East Los Angeles. Xiomara then received an MA in Public Art Studies from the University of Southern California, where she traveled to Central America and investigated the integration of community arts within NGOs in Guatemala and El Salvador. Xiomara received her PhD in Theatre and Performance Studies from the University of Missouri. weekly performances, and developed skits, and constructed puppets for outdoor shows. Xiomara’s play Voice of the Voiceless: The Óscar Romero Play received the Kennedy Center American College Theatre Festival (KCACTF) National Partners of the American Theatre “Outstanding Play” award and is a national semi-finalist. In 2018, Xiomara was the KCACTF National 1st Place Winner for her Dramaturgy on Father Comes Home from the Wars, Parts 1, 2 & 3. Xiomara was the 2017 recipient of the KCACTF National 1st Place Winner – Allied Crafts and Design for her Projection Design of Good Kids. Xiomara recently directed Marisol by José Rivera in the Rhynsburger Theatre at the University of Missouri as a live performance and film.
Jim Topic
Stage Assistant (for MN fringe Festival)Born with an inquisitive nature, Happy Wanderer, Jim Topic, has acquired skills and experience throughout life. A love of theater has led him to a life of performance and teaching, and a love of visual art, color, form and fire led him to an occupation as a glassblower. A love of all growing things brought Jim to a life of humility and understanding and tasty foods from his gardens to his own and others’ tables. A life of connection has brought Jim the opportunity to assist his friend, Cherie Sampson, in her performance at the Fringe Festival. La vie est belle!
Additional Credits
First I would like to thank Dramaturge Extraordinaire, Mark Bly, for mentoring me in 2023-24 on the continued writing of the script for this piece. Mark is a pioneer in the field of American dramaturgy (and yes, he is related to poet, Robert Bly.) Thank you, Mark! You are a gem and a delight to converse with - I have learned so much from you! VOICE ACTORS: Cherie Sampson (as herself), Kandice Grossmann (as Cherie’s sister), Cheryl Black, Sharon Buzzard, Tobi Coffee, Les Gray, Talia Gritzmacher, Angela Ketteman, Patrick Hotle, Jane Hudson, LR Holts, Mary Kay Lane, Taren Lewis, as himself. Meagan Brown, (as herself), Mary Oatman, Steve Wiegenstein, Anjali Tata-Hudson, Voices of Cherie’s family, medical practitioners and other personnel that are heard in the soundscapes are from recordings of actual phone calls as part of the documentary process. INSTRUMENTATION: Elaine AuBuchon (oboe). Xin Gao (saxophones). Brian Kubin (cello). Ned McGowan (contrabass flute). Greg Oakes (bass clarinet). James R. Sampson (original piano compositions & piano). Brief samples appear from the Shakti Orchestra (Shakti School of Dance, Los Angeles). Royalty-free recordings of Nocturne Opus 9, #2 in E Flat Major & Fantasie- impromptu, Opus 66 by Chopin from neosounds. ARTWORK: Sandy Eccles, original concept artwork for “Red devil” & Angel. KayLynne Swyers, animation for “Big Red Dog…” VIDEO FOOTAGE: Daniel Kelly (Cherie’s husband), various documentary clips. Taren Lewis (Cherie’s son), various documentary clips. Radim Schreiber, cinematography (a few shots at the tree). MENTORSHIP in research & RESEARCH ASSISTANT: Lynda Balneaves & Kandice Grossman INTERVIEWEES: Interviews with survivors and previvors of BRCA-related cancer conducted with the following individuals were integral to the storytelling narrative of this piece. Their names were changed above (other than my son, Taren). Some of these individuals’ stories are integrated into this performance. Additional others’ stories will be heard in the full production of the piece. I am deeply grateful for their contributions to this project: Marisa Balingit, Cori Berg, Julie Breslow, Rose Bryan, Amy Childers, Lisa Friedman, Nora Kirsh, Debbie Lesser, Taren Lewis, Susan Miller, Jeanne Pitman, Jean Roskams, Rachel Rue, Erika Stallings, Tanya Temkin, Shannon Terrill, Cevia Yellin. TEXTUAL CREDITS: The Gene, Siddhartha Mukherjee. The Transparent Body, Jose Van Djick. The Terrible Stories, Lucille Clifton. The Wounded Storyteller, Arthur W. Frank.
More Information
HELLO Fringe Fans!
If you made it all the way to this SHOW INFO page please know that due to Covid last week, I missed the first two performances of "every.single.one." (Thus you see no reviews for my show...) I have recovered and arrived in the Twin Cities yesterday. I WILL be performing the show tomorrow at the Southern Theater at 10PM! I am a first-time producer at MN Fringe and excited to be here!
Southern Theater
Wednesday, August 7, 10:00 PM
Friday, August 9, 8:30 PM
Sunday, August 11, 2:30 PM
In 2017, when artist Cherie Sampson posted images of a series of photographs taken in a natural environment of her body made hairless from chemotherapy, a friend and ovarian cancer survivor commented, “Every. Single. One. of us who has been with this disease is validated, loved and to a certain extent, freed by this image.”
https://cheriesampson.net/every.single.one/photo-series/2018.html
“every.single.one,” is a multi-media performance by Cherie Sampson that depicts personal, familial and community stories about hereditary cancer while exploring topics of genetics, integrative oncology, and healing from a patient’s perspective of modern medicine. It interweaves three levels of testimonial – Cherie’s own, her sister’s, and those of hereditary breast and ovarian cancer survivors and previvors, whose stories were conveyed to Cherie in a series of interviews. (“Previvors” are people who take prophylactic measures to prevent cancer when they carry a known genetic risk, such as a mutation in the BRCA gene). The artist documented her cancer experience in audio-visual material, including the phone call delivering the news of the diagnosis. That collection of material has been edited into short film/video vignettes and soundscapes to comprise the audio-visual environment of the performance that, along with spoken word and expressive movement, is integral to the storytelling. Dance as a healing practice is an important throughline in the performance as it was during Cherie’s treatment and recovery. Shortly after her diagnosis, she informed her dance mentor in south Indian classical dance, Anjali Tata-Hudson, that she wished “to keep dancing through this.” Together, they worked on traditional dance items that would provide focus for physical, emotional, and spiritual strength, then later re-envisioned them into creative movement segments co-choreographed for this performance. “every.single.one” is a dramatic interpretation of an intimately personal and simultaneously universal human reality that explores the body as a site of uncertainty in illness, loss, sibling, and community interrelationship and survival. Initiating the project during treatment provided Cherie with a means to process the life-altering ordeal in which to, in the words of Black feminist poet, Audre Lorde, “examine it, put it into perspective, share it and make use of it.”
After each of the five performances of “every.single.one” at MN Fringe, audiences will be invited to participate in an optional survey for a research project being conducted by the artist called “every.single.one: Assessing Impact on Audiences of a Theatrical Performance About Cancer.” The purpose of this research project is to observe changes in attitude, empathy, understanding, and knowledge in audiences after seeing the performance. The survey will be mentioned by Cherie Sampson’s stage assistant before and after each performance. A postcard will be circulated after each performance with a QR code printed on it that can be scanned to access the survey.
The performance of “every.single.one” for the MN Fringe is a 56-minute version of the full production (100 min). The full production will debut in early 2025.
Contact Cherie Sampson if you are affiliated with a venue or institution interested in hosting the full production of “every.single.one” after March, 2025: sampsonch@missouri.edu
The production of every.single.one is supported in part by grants from University of Missouri Research Council & Research Board, The Ellis Fischel Cancer Center, University of Missouri and an MU Arts & Humanities Research & Creative Works Fellowship. A grant from the Puffin Foundation will support a 2024 performance of the piece in Washington DC at the DCJCC Goldman Theater.
“every.single.one” was a 2023 Jane Chambers Award Finalist for new feminist plays and performance texts.
2-minute excerpt of video for projection design in the performance:
https://vimeo.com/330244945/b4b82ad0ad?share=copy
