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RADICAL CONTENT
MEETS
RADICAL FORM

 

PAST PRODUCTIONS

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OUR MISSION

Ceaseless Fun fosters empathetic and socially-engaged discourse through feverishly philosophical and playfully illicit live performances.

This is done by:

Collaboratively devising contemporary and relevant material with both performers and designers

Crafting and staging performances in unconventional spaces

Affording audiences agency and implicating them within the fiction

Drawing on and collaging a variety of literary, dramatic, poetic, and philosophical source-texts

Challenging the audience to draw their focus from the narrative to the expressionistic

Making the work as physically and monetarily accessible as possible

 

LEADERSHIP

Artistic Director

Derek Spencer is a director, writer, sentimentalist, overeager curmudgeon, and over-emotional socialist. He started making theater when he realized he was better at it than he was at playing bass in punk bands. Now he makes theater because he believes that live, interactive moments of spectacle and intimacy have a unique power to empathetically affect and connect audiences. Derek's interests include mania, gender, socialized behavior, dreams, the silver lining of political dystopia, and the inner lives of characters in crisis. Outside of his performance practice, he enjoys telling people he cooks, rearranging his bookshelf, and being the last person left at your party.

MEREDITH TREINEN

Creative Producer

Meredith is a producer. She produces big things, she produces intimate things. She directs things sometimes.

 

COMPANY MEMBERS

Woodrow Currie is a poet and a fool. He loves trash.

Juliet Deem is an actor and writer. She is enthralled by learning, laughing, the tiny idiosyncrasies of day-to-day personal interactions, and instilling her work with the same ethos of childhood play. Past work includes pieces with Annie Saunders’ Wilderness (Asics’ Big Chase, Leaves of Grass at the 14th Factory), play collaborative arts, and Los Angeles Performance Practice. her favorite work was baking a quiche in Meredith Treinen’s Grief. She also co-founded the charity live-read event series, Female Animal L.A., in 2016. Juliet lives with her tiny, ratty dog the color of caramel and cream, Oscar. She prides herself on her taste in gifts and wine.

Jordana Lilly is a California born and bred soft-core hippie with a deep and profound love of music, people, and the magic of storytelling. She dipped several toes into the vast ocean of immersive theatre without being fully aware of it when she began working at Disneyland 4 years ago doing immersive, site specific theatre and when she acted in several seemingly embarrassing events for Chapman University as a generic Victorian era lady and a cigar girl and of course took these remedial roles to the nth degree of specificity for the sheer purpose of passion and passion alone. Her first intentional immersive theatre show was They Who Saw the Deep with Ceaseless Fun, which was, directly quoting Jordana, "the coolest thing I've ever been a part of." She dove directly into more site specific art with Ceaseless Fun in their next production, The Stars, the following month. She worked with JFI Productions in Creep LA: Awake this past spooky season doing character comedy in a horror show. Unexpected? Fitting - favorite quote in the world is Debbie Reynolds in Halloween Town spitting truth: "Normal is vastly overrated." Her ultimate passion is communication through various art forms. When she is not on a literal or figurative stage, she is usually working on writing and performing music, comedy, and finding stray cats to lure into her home. She feels unbelievably lucky to have found a group of collaborators as brilliant as the minds behind Ceaseless Fun and cannot wait to stretch, bend, and contort the walls of conventional theatre with these socially aware, talented and dynamic artists.

Dakota Loesch is a Chicago-born character actor living and working in LA. He’s been a touring musician with various rock-and-roll outfits for the last fifteen years. He’s a published author of poetry, fiction, and movie reviews. Dakota also has the distinction of being the first person to get a Ceaseless Fun tattoo.

Allegra Masters is a New York born, bi-coastal actor who is currently LA based. Recent film and television works include Netflix produced sci-fi thriller, Circle and Strange Angel on CBS. Allegra began working with Ceaseless Fun through fellow graduates of UCLA’s School of Theater Film and Television. She has had the pleasure of performing in multiple CF productions including Why I Want to Fuck Ronald Reagan and most recently, The Stars which was featured as a part of the 2018 Hollywood Fringe Festival. Her recent national commercial for Volkswagen is considered by some conspiracy theorists to be a message from the Illuminati…so there’s that. She is incredibly excited to be a company member of Ceaseless Fun, whose work has grounded her and brought her back to her true love of performance and storytelling through theater.

Scott received a BFA in Acting from Shenandoah Conservatory in Virginia in 2011, then moved straight to LA. After a couple of years of continued study and work in LA he became an Artistic Director and the Venue Manager of play collaborative arts venue, working on Tiny Rhino, Renditions, Retrograde, Erotica, The Last Supper, and Futurerotica. His first CeaselessFun project was Grandpa Johnson is Dead, and since then their collaborations include, Why I Want to Fuck Ronald Reagan, Agnosia, and They Who Saw The Deep. He is drawn to dark and subversive work and enjoys finding the humanity in villains and unlikable characters, but using comedia, improv, and an unusual sense of humor he’ll find a way to bring lightness into heavy material. 

Liam Moore's work focuses on creating hyper-real worlds - bringing fantasy into reality through various media. After studying at the Chelsea College of Arts in London, he moved to LA and has been cultivating a multi-faceted career in entertainment since. Most recently he's done production design on music videos for artists such as Janelle Monae, Carly Rae Jepsen, Billie Eilish, Kim Petras, and Blackbear.  Additionally, he has worked as art director on various events and theatrical productions. This includes being the art director at Disco Dining Club, and working with Secret Cinema and Punchdrunk while in London. With Ceaseless Fun, he has set designed They Who Saw The DeepWhy I Want to Fuck Ronald Reagan, and Agnosia, as well as Meredith Treinen's Grief. He is also the founder and creative director of an immersive club night called Bambii in Downtown Los Angeles.

Soren Royer-McHugh grew up in the Bay Area where he spent most of his time driving around suburbs and being a movie nerd. In 2005 he bonded with his father over acting together in various community theaters. After entering college at UCLA in 2010, he had a few life changing experiences/altercations with Grotowski and the ‘physical theater.’ They helped Soren feel good about acting.  He thinks about generational gaps, psychedelic drugs, the occult, the cosmos, the desert, the tundra, nostalgia vs futurism as motivating societal forces, how the internet is changing his brain, music, Reese‘s Pieces, his family in Tennessee and how much he loves the South, his family in Michigan and how he doesn’t understand the Midwest, the death drive, love, found footage, how to prepare for his death, Los Angeles as an amorphous city, how long it’s been since he was in the woods, how the poor graphical capabilities of the video games that filled his youth excited his imagination more than HD 3D 1080p Virtual Reality, if his love of hip-hop and/or gay culture is a cultural appropriation, how great the United States is at recuperating radical ideas into easy digestibles.

Emily grew up doing summer Shakespeare and small time gigs in her hometown of Boston, MA. She attended UCLA’s School of Theatre, Film and Television and the British American Drama Academy in Oxford, England. Some of her favorite experiences on the stage include losing her wig while upside down 20 ft in the air as Tinker Bell in Theatre Threesixty’s National Tour of Peter Pan, peeing on Brooke Shields' leg as Regan in Geffen Playhouse’s The Exorcist, learning a pre-civil war Georgian accent for South Coast Repertory’s World Premier of Little Black Shadows and playing the violin (badly) while walking backwards on a moving platform in Portland Center Stage’s The Oregon Trail. On TV, you may have seen her in various National Commercials, on NBC’s Grimm or Bad Hat Harry's Spooked. Emily was lucky enough to find Ceaseless Fun just in time for Why I Want to Fuck Ronald Reagan and promptly fell for CF’s creative process. Since then, she’s performed in Agnosia and The Rose Theatre Presents.... Emily is excited to help all the poignant and daring ideas in Derek’s head come to fruition. In addition to acting, she is an enthusiast of fitness, aerial arts, vegetarian delights and all things cute and fluffy, specifically her cats Dorothy and Mushu Pancake.

 

SELECT PRESS

 

THE STARS SHINE BRIGHT IN A YEAR TO REMEMBER FROM CEASELESS FUN

"The minds behind Ceaseless Fun are, first and foremost, philosophers and empaths of the highest order....Ceaseless Fun has proven itself as an immersive force of the highest caliber"
- Chris Wollman, Haunting

GRIEF AS FRACTAL ART: ‘AGNOSIA’

“Yetter and Loesch have a dynamic that feeds off each other, even when they can’t directly acknowledge the other’s presence. The way that the piece plays their words off each other reminded me of a mixmaster keeping two turntables in flow: the strophe/anti-strophe of a Greek chorus in miniature. There is great precision here, with the Ceaseless Fun team hitting their stride in the one-on-one dynamic.”
- Noah Nelson, No Proscenium

‘THEY WHO SAW THE DEEP’ IS LIKE BEING LOST IN THE WEIRDEST DREAM YOU CAN POSSIBLY IMAGINE

"One of the most open pieces of immersive theater to emerge in L.A. in recent memory."
- Juliet Bennett Rylah

CRASH COURSE: A REAGAN OBSESSED FEVER DREAM EXPLODES IN LA

"this is the fractal mojo of immersive working in high gear. Anchored in cultural anxieties and iconography that have taken on new weight in 2017."
- Noah Nelson, No Proscenium