Anonymous Ensemble’s


Created collaboratively with:
Irma Alvarez-Ccoscco, Poetry and Performance
Directed by Ashley K. Tata 
Lucrecia Briceño, Lighting Design
Eamonn Farrell, Video and Installation Design 
Liz Davito, Musician, Music and Sound Design
Paul Pinto, Music and Sound Design
Sergio R. Reyes, Musician
Jessica Weinstein,  Performer, Environment
Adrian D. Cameron,  Digital Systems
Majo Ferrucho,  Production Stage Manager
Derek Van Heel,  Associate Lighting Design

With deep gratitude for the presence and voices of:
Agustin Pauta, Rosa Caruallanqui, Carlos McCauley, Carmen Kenchington, Charles Walker, Eduardo Larrañaga, Elvia Grageda Andía, Fabian Muenala, Fredy Roncalla, Isabel Farrell, Julia Garcia, Macauley Del Vecchio, Manny Medrano, Miguel Manrique, Renzo Aroni Sulca, Américo Mendoza-Mori, Tania Pariona Tarqui

Installation translation voices, Spanish and English:
Julissa Roman, Luis Illaccanqui, Eddy Marco Martinez, Celia Rosa Quispe, Hannah Landis, Eliana Yost, Paul Pinto

Translation of Quechua/Spanish/English transcripts: 
Irma Alvarez-Ccoscco, Pablo Landeo, Richard Pineda

Special Thanks:
Elvia Andia Grageda, Michelle Wibbelsman, Adam Farrell, Wendy, Elena Perantoni, Sonia Baidya, and the whole Wex team!

ANONYMOUS ENSEMBLE, founded in 2001, creates new performances, interactive media, and unique theatrical events every year. We have performed in theaters, found spaces, and festivals all over New York City, as well as nationally and internationally. Recently, we have become leaders in the development of a new form of hybrid real space and online performance that is both locally engaged and global in scope. Whether in virtual or real space, we prioritize creating new experiences of community through live performances and giving voice and agency to our audiences and collaborators in our explorations of the human condition, our collective storytelling, and the limitless possibilities of imagination. The core members of Anonymous Ensemble are Lucrecia Briceño (lighting), Eamonn Farrell (video), Jessica Weinstein (performer), and Liz Davito  (sound).

IRMA ALVAREZ-CCOSCCO is a Quechua poet and linguistic activist from Haquira, in Peru’s Apurímac region. She is a former fellow of the Artist Leadership Program at the Smithsonian’s National Museum of the American Indian. She promoted literacy among Quechua native speakers in the Andes through her project “Runasimipi Qillqaspa” and has been involved in projects of decolonized software localization. Based in Rhode Island, she is a linguistic consultant for Quechua language and culture. Additionally, her poems have been published in various international literary magazines. She has been recognized as a Meritorious Personality in Culture for her dedication to creating better access to technology and literacy in Quechua, awarded by the Ministry of Culture of Peru, and has received a Certificate of Special Recognition for her work in preserving and promoting the language, identity, heritage, and leadership of the Quechua people, awarded by the State of Rhode Island. 

ASHLEY KELLY TATA (they/ze) makes and directs multimedia works of theater, contemporary opera, performance, cyberformance, live music, and immersive experiences that have been presented in venues and festivals throughout the US and internationally including the Big Sing Festival in The Netherlands, the Miller Theater, Carnegie Hall, the Fisher Center’s SummerScape Festival at Bard, Theatre for a New Audience, Ars Nova, PS21: Center for Contemporary Performance, Los Angeles Opera, Austin Opera, National Sawdust, Experimental Media and Performing Arts Center (EMPAC), Crossing the Line Festival, Holland Festival, Prelude Festival and National Centre for the Performing Arts in Beijing. Tata’s productions have been called “fervently inventive,” by Ben Brantley in the New York Times, “extraordinarily powerful” by the LA Times, like something that “reaches out across the centuries and punches you in the throat” by Alexis Soloski in the New York Times and Tata’s production of Kate Soper’s Ipsa Dixit was named a notable production of the decade by Alex Ross in The New Yorker.  These works have been developed with residencies at the Brooklyn Academy of Music (BAM), Catwalk, Mercury Store, Coffey Street Studio, EMPAC, and with a Map Grant. Tata’s collaborators have included the composers Kate Soper, Ted Hearne, David T. Little, Bora Yoon, Rob Johanson, the playwright Jerry Lieblich, and the collective Anonymous Ensemble, among others. Tata is currently a visiting assistant professor and the artistic producer of theater and performance at Bard College.

Paul Pinto is a composer, performer, opera-sermonizer, and multi-disciplinary dabbler who makes music, new media, micro-theatres and durational performance by himself and with his friends. Some of those friends include the collectives thingNY, Varispeed and LoveLoveLove. A few favorite projects include Patriotswith Jeffrey Young, Robert Ashley’s Perfect Lives with Varispeed, Peter Maxwell Davies’ Eight Songs for a Mad King, and the cyclorama video installation Whitenesswith Kameron Neal. He sang and danced on Broadway in Dave Malloy’s Great Comet of 1812, and wrote and performed in the electronic opera Thomas Paine in Violence starring Joan LaBarbara. Recent commissions and partnerships include HERE Arts, Prototype Festival, The Fisher Center, the 1491s, American Opera Projects, Opera America, Culturehub, LaMaMa, Quince, ALL ARTS, The Rhythm Method, Yarn/Wire, Anonymous Ensemble, Raven Chacon, Gelsey Bell and Kristin Marting.

ADRIAN D. CAMERON is a Brooklyn-based theater/performance/media artist and technologist with over twenty years of experience in a diversity of creative fields, including media design, theater, performance art, sound design, and computational creativity. He is an alumnus of Brooklyn College’s Performance & Interactive Media Arts MFA program, and as the Founder/Bureau Chief of Irrational Robot Bureau, he presented numerous original experimental theater productions in Seattle, WA. His most recent work explores the creative applications of both established and emergent technologies and their intersections with live performance. / @adriandcameron

EAMONN FARRELL is a New Jersey-based theater maker and video designer. His work focuses on how innovative technologies can support and elevate the work of live performers to create unforgettable experiences. Eamonn is a founding member of Anonymous Ensemble whose notable productions include: The Best (Ice Factory Festival, Brisbane International Festival), Wanderlust (Edinburgh Fringe, UK Tour), The Return (Theatro Chora, Theatro Roes), The Turing Opera (Greek National Opera, National Sawdust), LIEBE LOVE AMOUR! (HERE, Prelude, Duke, Wesleyan, The New Ohio), I Land (NC Stage, Princeton, Incubator Arts), Ship of Fools (HERE), The Future (UNC, Chashama), Body of Land (urban green spaces) and Llontop (NEFA recipient for US Tour). For two decades, Eamonn collaborated with and designed video for the late Lee Breuer of Mabou Mines. Other design credits include: Sarah Michelson Dance, TFANA, Pregones/PRTT, Beth Morrison Productions, B3 Dance (Bessie Nomination), Bridge Rep (Irne Nomination), LA Dance, The LA Phil, Parsons Dance, Jazz at Lincoln Center, and Portland Center Stage. Eamonn has taught projections design at Princeton, City College of New York, JMU, and UVA.

LUCRECIA BRICEÑO is a Peruvian artist currently based in Brooklyn. Much of her work has been in association with artists developing innovative and original pieces. Her work includes theatre, opera, puppetry & dance, as well as collaborations in several non-performance projects. Her designs have been presented at such venues as Oxford Playhouse (UK), The Public Theater, Arena Stage, The Metropolitan Museum of Art, Dallas Theatre Center, BAM (Fischer), Kennedy Center, Atlas Performing Arts, Berlind Theatre, Chicago Shakespeare Theater, La Mama ETC, Birmingham Repertory (UK), Culture Project, Pregones Theatre, Intar, HERE Arts Center, Soho Rep, Ohio Theatre, Irondale Center, ArtsEmerson, among many others.Internationally her work has been seen in Caracas, Peru, Turkey, Scotland, Seoul, Bogota, Norway, and England. Her design work for “Crime and Punishment” was part of the Venezuelan delegation for the 2015 Prague Quadrennial. She is an associate artist with The Civilians, a Core Member of Anonymous Ensemble, a resident designer with Pregones Theatre/PRTT and La Micro; she has also been a guest artist/lecturer at NYU, Princeton University, Hunter College and the Pontificia Universidad Católica del Perú. MFA: NYU Tisch School of the Arts. Member of 829. 

LIZ DAVITO performs live music, composes aural soundscapes, and transforms live audio to craft unique theatrical experiences. A co-founder of Anonymous Ensemble, she has performed and created music in thirty-something productions worldwide since 2002, from the Greek National Opera to camping festivals in the UK. She plays a number of instruments and her compositions are designed to respond to spontaneity and play; sometimes digitally live-scoring unpredictable scenes, sometimes capturing live audio from the audience to become the music, her primary pursuit is creating community through music and sound. Other productions in New York include award-winning plays and musicals with theaters including Playwrights Horizons, St. Anne’s Warehouse, Mabou Mines, LaMaMa, the Ohio Theatre, Ars Nova, HERE, and Ensemble Studio Theatre. Liz has been a guest artist/lecturer at NYU, Princeton, Duke, UNC, Wesleyan, Hellenic American University, UNC Chapel Hill, Muhlenberg, JMU, and SUNY Buffalo. In roles including musical director, conductor, composer, orchestrator, arranger, and onstage musician, she’s appeared on stages such as Symphony Space, The Bell House, National Sawdust, Stratford Circus in London, the Brisbane Powerhouse, Fashion Week in Norway, Medienfestival Neuropolis in Berlin, the Latitude Festival in England, the Edinburgh Fringe, Theatros Chora and Roes, and Nakkas Hall in Athens, Greece.

JESSICA WEINSTEIN is an actor and performing artist working in images, languages, writing, songs, oceans, distances, and sunlight.  She has been a performer and creator for all of Anonymous Ensemble’s shows since 2002, throughout the U.S. and internationally, including Llontop, The Owl and the Flowers, Flight, Songs from a Tall Room, The Future, Liebe Love Amour!, Braid, I Land, The Turing Opera, Wanderlust, and the Best.  She was an actor and close collaborator in the work of Lee Breuer of Mabou Mines for two decades, including the internationally acclaimed world tour of Mabou Mines’ Dollhouse, Glass Guignol, La Divina Caricatura, Porco Morto, and Red Beads. She has developed and performed new work with collaborators Aki Sasamoto (The Kitchen, Danspace), Sibyl Kempson and the 7 Daughters of Eve (The Whitney Museum, The Kitchen), and Lenore Malen (Upsalla Konstmuseum, Art OMI). Jessica’s 10 foot tall alter egos include the cabaret/film star Tall Hilda and the mystical singer-songwriter Ellipsa.

MAJO FERRUCHO* is a Colombian Equity Production Stage Manager and Producer. Has worked on numerous productions. Selected credits as Stage Manager: Arrabal directed by Tony Award winner Sergio Trujillo; Viva Broadway!, directed by Luis Salgado and Jaime Lozano; 29 hours reading of Americano, directed by Sergio Trujillo, co-directed by Luis Salgado, The Beauty and the Beast with Disney Theatrical Group; Aladdin; On Your Feet! en Español, directed by Luis Salgado; The Red Rose, directed by Rosalba Rolón; In The Heights for the Pennsylvania Shakespeare Festival; The Sound of Music; Peter Pan; Fame; The Last 5 Years; Daddy Long Legs; On Your Feet! U.S. Second National Tour. Selected credits as Producer/General Manager: Pororoca, at the Summer Stage; Vida starring Carolina Gaitán; Every Brilliant Thing starring Amalia Andrade; Barba by Revolución Latina and Pregones/PRTT. @majoferrucho

SERGIO R. REYES is a Guatemalan violinist, composer, and arranger residing in NYC. He has performed at Carnegie Hall, Lincoln Center, MoMA, the Metropolitan Museum of Art, and the Blue Note Jazz Club, among other places. Sergio has shared the stage with internationally renowned artists Frederica von Stade, Clive Lythgoe, Danny Rivera, and Argentine musicians who worked with tango master Astor Piazzolla, such as Pablo Ziegler, Héctor Del Curto, Raúl Jaurena, and Daniel Binelli. He studied violin and composition at Interlochen Arts Academy, Brooklyn College Conservatory of Music, and Manhattan School of Music. In Europe he attended the Mozart European Academy (Poland) and the Ecoles d’Arts Américaines (Fointanebleau, France). Passionate about the arts, literature, and Guatemalan history, he  addresses current Guatemalan and Latin American issues and societal challenges as the core inspiration for his original orchestra, chamber music, choral, and tango ensemble compositions. Recently, he was awarded a NYSCA grant to compose new music for The Harlem Chamber Players to be premiered in the Fall of 2024.

Derek Van Heel’s designs have been seen in venues large and small; from Jazz At Lincoln Center, The Town Hall, and The Public Theater, to the kinds of basements, bars, churches, and teeny-tiny rooms where New York theatre is often forged. He is especially drawn to new works, and has contributed to dozens of premiers and workshop productions. Notable collaborations include New York City Opera, Doug Varone and Dancers, Pittsburgh Opera, Madison Opera, The Montana Repertory Theatre, Finger Lakes Opera, Syracuse Opera, Red Fern Theatre Company, Palm Beach Opera, Actor’s Studio Drama School, Scandinavian American Theatre, Origin Theatre, and The Civilians. His award-winning designs for Ren Gyo Soh’s Butoh Medea have been seen internationally in Italy, Turkey, Poland, Czechia, and at the Edinburgh Festival Fringe.

*Stage Manager appears courtesy of Actor’s Equity Association.

Llontop was made possible with funding by the New England Foundation for the Arts’ National Theater Project, with lead funding from The Andrew W. Mellon Foundation and additional support from the Doris Duke Charitable Foundation, the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, by Net/TEN, by NALAC and by the A.R.T./New York Small Theatres Fund with Production design support provided by the Edith Lutyens and Norman Bel Geddes Design Enhancement Fund, a program of the Alliance of Resident Theatres/New York (A.R.T./New York). The production has been developed through generous residencies at Royal Family Theater, Coffey Studios, Mayday Space, Eastern Mennonite University, The Princeton Quechua Workshop, The Ammerman Center for Arts and Technology at Connecticut College, and two ASAP Residencies at Pregones/PRTT.