Megan, Kristina, and Amber perform a dance piece to Jules Nyquist’s poem “Horizons” for word/move.
word/move was a festival of movement and dance pieces set to poems hosted by Sandbox Theatre at the Southern during their run of Beatnik Giselle.

word/move performed on Saturday, October 20, 2012.

Our blurb from the program:

“The Winding Sheet Outfit is a group of theatre artists that got together to make a Fringe production this summer and had a pretty good time with it.  These three ladies are a part of that group.  Megan Campbell Lagas is a company member of Sandbox Theatre, Kristina Fjellman has appeared in past Sandbox productions, and Amber Bjork has participated in Sandbox’s LAB offerings.  They like the challenge of new things, of new stories, and of new roles.  For this piece, Megan also composed and played the piano piece, Kristina also designed costumes, and Amber also showed up on time.”



just in case you’d like to sing along.

Horse in the hay, she tarried my way, and so I’ll make her my darlin’.

We had no food,  you may think me lewd, but what?  Would you have me be starvin’?


OH!  Horse in the hay, I love her today, but I am filled with such sorrow!

Horse in the hay, I’ll feed her today, but she’ll be on my plate tomorrow!


I was a bloke so terribly broke, sad, dejected and skinny.

But then I ate horse for every course, and now I just gallop and whinny!


OH!  Horse in the hay, I love her today, but I am filled with such sorrow!

Horse in the hay, I’ll feed her today, but she’ll be on my plate tomorrow!

the steerage experience: the barracks

“The old-type steerage is the one whose horrors have been so often described. It is unfortunately still found (1882) in a majority of the vessels bringing immigrants to the United States. It is still the common steerage in which hundreds of thousands of immigrants form their first conceptions of our country and are prepared to receive their first impressions of it. The universal human needs of space, air, food, sleep, and privacy are recognized to the degree now made compulsory by law. Beyond that, the persons carried are looked upon as so much freight, with mere transportation as their only due.”


from The Steerage Experience

a little bit about “Birds of Passage” – pre-production.

We’re using simple yet beautiful theater elements–movement, music, storytelling, large swaths of fabric–to tell a story about immigrant sea crossings. There are so many personal accounts of what was left behind and what a new life in a new land was like for these people so many years ago. But few narratives remain of what it was like aboard a ship at that time. It is easy to find an account of the mundane particulars: supplies, duration, disease, hardship. But one can only speculate about the emotional resolve it would take a human being to undertake such a risk. To leave everything behind, step out into the disorienting world of the sea, understanding that your safe arrival was not in any way guaranteed. Exploring those sacrifices and that drive is what we’re doing. We are finding the tipping point between doubt and hope, the juxtaposition of a visual horizon you cannot perceive yet living in conditions where one can hardly move, and the reasons a person would have to make such an arduous journey.

tidbits from our first workshops

-all incidents happen at the furthest point south.

-a mother with a lullaby and a baby that turns into a sheet that spills into the water.

-a masthead that becomes a card player.

-a rhythm that becomes a wave.

-it’s official: music from a mountain dulcimer can only signify “hope.”

-birth on a boat: “are you a citizen of anywhere?”

-“i’m glad to have you in my dash.”  (the “dash” on a tombstone represents your life, your journey, your place between not existing and not existing again.)