a razzle-dazzle dance routine that refers to choreography from a Godard film.” The piece premiered in Les Subsistance's Ça Tchatche Festival in April in Lyon, France. It also played at Le Quartz in Brest, France, Le Theatre National in Rennes, France, MCA/Chicago, The Kitchen, NYC October 2009, and New York Live Arts, NYC. It is a signature work of the Company and the entire company and design team won a Bessie for it in 2010. Supernatural Wife (2010) During a residency at the Getty Museum in Los Angeles in 2010, Parson and Lazar began working on Supernatural Wife, an adaptation of Euripides' play Alkestis. Parson edited the translation by Anne Carson to create a spare skeleton for the piece. The play is based on the myth of King Admetus, who is offered eternal life by Apollo on the condition that he send a surrogate to the underworld in his stead. His wife, Alcestis, volunteers. Parson describes the subject matter as primal: "matters of birth, death, grief, mourning and the gods." Supernatural Wife had its American premiere at the Jacob's Pillow Dance Festival in 2011. Ella Buff, the festival's executive and artistic director, noted that “by integrating material from far-flung sources, [Parson and Lazar] create their own mythology.” The piece pulled from Yiddish silent films, the physical score from Dean Martin and Jerry Lewis routines, video footage of a horse wrangler and a recording of a monologue by Rosalind Russell. Annie-B Parson made her Brooklyn Academy of Music debut in the Harvey Theater with Supernatural Wife in 2011. The piece toured to La Filature in Mulhouse, France, Les Subsistances in Lyon, France, Le Quartz in Brest, France, Théâtre National de Chaillot in Paris, France, and the Walker Arts Center in Minneapolis, MN. Ich, Kurbisgeist (2012) Ich, Kurbisgeist was co-commissioned by The Chocolate Factory and Performance Space 122. It premiered in October 2012 at the Chocolate Factory in Queens New York, and later played at NYLA in 2013. The show was created in collaboration with Playwright Sibyl Kempson, and was written in a language invented by the playwright, which no one in the world, except those involved in the production, speaks—or has any knowledge of.” This “impressively inscrutable” play is, in the words of the playwright, an “olde-tyme agricultural vengeance play for Hallowe’en.” The piece was set in the Middle Ages, in a largely barren land that seems to produce nothing but