Paul Outlaw
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CV

Photo: Ray Busmann

Curriculum vitae

EDUCATION

BFA in Acting, New York University Tisch School of the Arts

SELECTED PROJECTS & COLLABORATIONS

2018

I’m Very Into You – devised theater in collaboration with Sara Lyons (director). Los Angeles Exchange Festival at Think Tank Gallery, Los Angeles, CA.

Who’s Hysterical Now? – a gender-flipped live-read of selections from the Ford/Kavanaugh testimonies conceived and adapted by Tina Poppy, with Paul Outlaw (PO) as Sen. Dianne Feinstein, Dr. Christine Blasey Ford and Mrs. Ashley Kavanaugh. Bootleg Theater and Blank Theatre, Los Angeles, CA.

Shine – site-specific solo performance as part of Metro Art Presents’ “Changes,” curated by Stephen van Dyck. Union Station, Los Angeles, CA

“Becoming Angeleno,” written and performed by PO as part of . Grand Park, Los Angeles, CA.

 A Streetcar Named Desire – play by Tennessee Williams directed by Michael Michetti, with PO as Featured Singer/Man/Doctor. Boston Court Pasadena (CA).

“Encounters #43 & #44” – durational improvised group performances presented as part of “Pacific Standard Time: LA/LA” at Human Resources (#43) and Los Angeles State Historic Park (#44).

2017

BIRTHDAY SUITe – solo performance written and performed by PO. Electric Lodge, Venice, CA.

The Distance Is Beautiful – site-specific theater work created by Lola Gonzàlez (text), Oguri (choreography) and Paul Chavez (music) created in collaboration with the cast (with PO as Featured Singer). FLAX Foundation at Grand Park/Metro Red Line/surface streets, Los Angeles, CA.

Sorry, Atlantis: Eden’s Achin’ Organ Seeks Revenge – site-specific theater work written by Asher Hartman created in collaboration with the cast (featuring PO as Po). Gawdafful National Theater at Machine Project, Los Angeles, CA.

Various performances with clipping. (Daveed Diggs, Jonathan Snipes and William Hutson) in support of Splendor & Misery (q.v.), including The Broad (Los Angeles), Brick & Mortar Music Hall (San Francisco) and Starline Social Club (Oakland).

2016

Splendor & Misery – studio album by clipping., guest vocals by PO. (Music video: “True Believer.”) Sub Pop Records/Deathbomb Arc.

The Silver, the Black, the Wicked Dance – site-specific theater work written by Asher Hartman created in collaboration with the cast (featuring PO as “The Forced Entertainer“). Gawdafful National Theater at Los Angeles County Museum of Art (LACMA) 

Red Velvet – play by Lolita Chakrabarti directed by Benjamin Pohlmeier, with PO as Ira Aldridge. The Junction Theatre Co. at the Atwater Playhouse, Los Angeles, CA 

2015

Compassio\N, mixed media performance created by Diana Wyenn and collaborating artists, including PO, as part of VisionLA Fest (Climate Action Arts Festival), Culver City, CA.

2014

Fallen Blossoms – feature film directed by Lior Shamritz (featuring PO as the Dying Queen in the Los Angeles section “The Gentrification and Killing of Lucinda“).

2013

The Late, Late Show – three-act experimental play with music written and performed by PO with ensemble (directed by Asher Hartman). Bootleg Theater, Los Angeles, CA.

The Florida Room/Glass Bang – site-specific theater work written and directed by Asher Hartman (featuring PO as Gavin Rose). Gawdafful National Theater/Machine Project/The Getty (“Pacific Standard Time: Modern Architecture in L.A.”) at Fitzpatrick-Leland House, Los Angeles, CA; Southern Exposure, San Francisco, CA; Cannonball, Miami, FL.

The House is Open, opera by Alexander Vassos presented by The Industry as part of First Take (new works showcase), featuring PO as Doctor. Billy Wilder Theater at the Hammer Museum, Westwood, CA.

Opportunity for Diversion: A Script for Two Players – site-specific performance by PO (performer) and Asher Hartman (writer). Presented as part of “Nowhere to Run, Nowhere to Hide” at “Die Lustige Grube” by Infernoesque, Berlin, Germany.

2012

The Late, Late Show – solo play (work-in-progress) - Act III: “Porphyria's Descent” (directed by Asher Hartman). Grand Performances, Los Angeles, CA. 

El Espiritu del Barrio Chino – photo essay/collaboration with Michael Sakamoto, in the group exhibition “(De)Constructing Chinatown.” Chinese-American Museum, Los Angeles, CA.

Language of the Land – series presented by Native Strategies featuring an open rehearsal of new theatrical work directed by Asher Hartman and featuring PO. LACE (Los Angeles Contemporary Exhibitions), Los Angeles, CA.

City of Los Angeles (C.O.L.A.) Individual Artist Fellowships Exhibition – group show featuring complete video documentation of “Porphyria's Descent.” Los Angeles Municipal Art Gallery, Los Angeles, CA.

2011

Layla Means Night – dance theater by Rosanna Gamson/World Wide (with PO as Featured Singer and Narrator). Roy & Edna Disney CalArts Theater (REDCAT), Los Angeles, CA.

´Bout to Get On – interactive site-specific performance installation created in collaboration with VISCERA (Anna B. Scott and associated artists). LAX FlyAway Bus Terminal, Van Nuys, CA.

What Did I Do to Be So Black and... – solo performance created in collaboration with Curt Lemieux and Joe Seely. LACE (Los Angeles Contemporary Exhibitions) and Highways Performance Space and Gallery, Santa Monica, CA. 

In One Ear – spoken word collaboration with Carole Kim. ARTTalk Festival (Boston Court Performing Arts Center), Pasadena, CA. 

Mass Transit – dance theater performance created in collaboration with Jaime Jeppe Benson and Andrae Gonzalo. Bootleg Theater Dance Festival, Los Angeles, CA.

2010

The Late, Late Show – solo play (work-in-progress) - Act I: “Porphyrion's Revenge,” (directed by Patrick Kennelly) and excerpts of Act II: “Porphyrion in Love.” Highways Performance Space, Santa Monica, CA. 

Annie Okay – site-specific performance theater work written and directed by Asher Hartman (featuring PO as Louis Leonowens). Machine Project A.I.R. at the Hammer Museum, Westwood, CA.

Under Glass – collaboration between video artist Carole Kim, composer Carl Stone and PO. Blast Phemy! series (presented by LA Film Forum/NewTown/Cinefamily) at the Silent Movie Theater, Los Angeles, CA, and (as crisscrossing) at the Kellogg Gallery, Pomona, CA. 

Tov – dance theater by Rosanna Gamson/World Wide (featuring PO). REDCAT, Los Angeles, CA.

2009

Vestiges of Creation – ensemble performance created in collaboration with Michael Sakamoto. UCLA Department of World Arts and Cultures. 

(dubzeck) – “performance mixtape” inspired by Woyzeck, staged by Patrick Kennelly (featuring PO as William Randolph Hearst and Donald “Cinque Mtume” DeFreeze). Highways Performance Space, Santa Monica, CA.

2008

We Pedal Uphill – feature film directed by Roland Tec (featuring PO as Whitman). 

2002 - 2008

Berserker – solo performance directed by Tanya Kane-Parry. Various venues, including Theater! Theatre!, Portland, OR; the New York International Fringe Festival, New York, NY; the San Francisco Fringe Festival, San Francisco, CA; Highways Performance Space, Santa Monica, CA; Blacktino Queer Performance Festival, Northwestern University, Evanston, IL.

2001

Project Alice – Fabulous Monsters’ adaptation of the Lewis Carroll classic directed by Robert Prior, with PO as the Mad Hatter and the Queen of Hearts. Renberg Theatre, Los Angeles, CA, and the Madrid Theatre, Canoga Park, CA.

Rita Goes to Hell – dance theater by Rosanna Gamson/World Wide, with PO as Hades. Highways Performance Space, Santa Monica, CA.

1999 - 2002

Lovesickness: Freud, Blood and Moving Pictures – dance theater by Rosanna Gamson/World Wide, with PO as Sigmund Freud. Highways Performance Space; Luckman Theater, Los Angeles, CA; as part of the Freud exhibition at the Skirball Cultural Center, Los Angeles; Colorado Dance Festival, Boulder, CO; Sushi Performance & Visual Arts, San Diego, CA. 

1997

Dirt – play by Abe Rybeck directed by Roland Tec, with PO as Michael Govern. Theater Offensive at the Boston Center for the Arts. 

All the Rage – feature film directed by Roland Tec, featuring PO as David; soundtrack song “Boy Crazy” written, produced and performed by PO; presented at festivals including Outfest, Los Angeles, and the San Francisco International Lesbian and Gay Film Festival. 

1994 - 1998

Here Be Dragons – solo performance directed by Leigh Strimbeck. Various venues including Prufrock’s, Scranton, PA; Fisher Theater, Exeter, NH; Out on the Edge Festival, Boston, MA; Friends of Italian Opera, Berlin, Germany; Raven Theatrical, Boston, MA.

1993

Schwarzfahrer (Black Rider) – short film directed by Pepe Danquart featuring PO in the title role; soundtrack song “Keep All the Sunshine (Locked Up)” written, produced and performed by Snow Blind Twilight Ferries; Academy Award, Best Live Action Short.

1990 - 1993

Lead singer of the Berlin bands Fortified Static, Snow Blind Twilight Ferries and General Motor, various recordings and performances in Berlin, including at Loft, Tacheles and Quasimodo.

  

SELECTED PUBLISHED WORK

2016

Berserker (play), published in Blacktino Queer Performance (Durham: Duke University Press), E. Patrick Johnson & Ramon H. Rivera-Servera, eds.

2008

“Außer mir vor Angst” (Scared to Death), essay, FRONT magazine (Germany), 11/2008

“Gershwin Employment Service,” essay, Extra Criticum, extracriticum.com, 9/18/2008

“A Girl and her Guitar,” essay, Extra Criticum, extracriticum.com, 8/29/2008

1995

“If That’s Your Boyfriend (He Wasn’t Last Night),” essay, African American Review, Vol. 29, No. 2

  

AWARDS AND GRANTS (SINCE 2000)

2012

City of Los Angeles (COLA) Individual Artist Fellowship

Los Angeles Artists Fellowship Laboratory (LAAFL)

2011

Center for Cultural Innovation Artists' Resource for Completion Grant for What Did I Do to Be So Black and... at LACE

2008

Durfee Foundation Artists’ Resource for Completion Grant for Berserker at the Blacktino Queer Performance Festival

2003

Best Male Dramatic Solo/Best of Fringe Award for Berserker, San Francisco Fringe Festival

  

SELECTED PRESS AND PUBLICATIONS (SINCE 2000)

2019

Slayton, Jeff, “Rosanna Gamson’s Sugar Houses: A Work-in-Progress at REDCAT,” LA Dance Chronicle, 1/17/2019

Ventzislavov, Rossen, “A Reality to Call Our Own,” X-Tra Contemporary Art Quarterly, Vol. 21, No. 2, Winter 2019

2018

Gutierrez-Perez, Robert, “Blacktino queer performance,” Text and Performance Quarterly, Vol. 38, Issue 4, 265-26

McNulty, Charles, “Best Theater 2018,” Los Angeles Times, 12/11/2018

Young, Gina, “On Sara Lyons: I’M VERY INTO YOU,” Riting, 10/10/2018

Stromberg, Matt, “From Rave Music to Shoe Shining, LA’s Union Station Sets the Stage for 20 Performances,” Hyperallergic, 8/21/2018

Klugman, Deborah, “A Streetcar for Today,” LA Weekly, 3/9/2018

McNulty, Charles, “Modern spin revives classic,” Los Angeles Times, 2/28/2018

2017

El Kholti, Hedi, “Bad and Good Times in LA,” Frieze, frieze.com, 12/31/2017

Various, “Extra Seasoning: Artistic Directors Share Their Faves,” American Theatre, Vol. 34, No. 8, October 2017

Barry, Timothy Francis, “E. Patrick Johnson and Ramon H. Rivera-Servera, Eds., Blacktino Queer Performance,” The Brooklyn Rail, July/August 2017

Stromberg, Matt, “60 Performers Reclaim the Streets of Downtown LA,” Hyperallergic, 7/12/2017

Caperton y Montoya, Will, ed., COLA 20 Catalog

Heller, Jason, “Why clipping.’s Hugo Nomination Matters for Music in Science Fiction,” Pitchfork, 4/7/2017

Rohrbach, Paul, “Watch clipping.’s Spacey, Single-Shot ‘True Believer’ Video,” Paste, 4/4/2017

2016

Kupermintz, Eden, “prognotes — Clipping’s Splendor & Misery, Part I: All Black Everything; Part II: Long Way Away; Part III: Break the Glass,” Heavy Blog is Heavy, Oct.-Nov. 2016

Jayasuriya, Mehan, “clipping. Splendor & Misery,” Pitchfork, 9/6/2016.

Nero, Charles, “What's Nat Turner Doing Up In Here With All These Queers?: Paul Outlaw's Berserker, A Black Gay Meditation Upon Interracial Desire and Disappearing Blackness,” Part VIII/Chapter 15, Blacktino Queer Performance (Durham: Duke University Press), E. Patrick Johnson and Ramon H. Rivera-Servera, eds., 486-497.

Young, Vershawn Ashanti, “Interview with Paul Outlaw,” Part VIII/Chapter 16, Blacktino Queer Performance (Durham: Duke University Press), E. Patrick Johnson and Ramon H. Rivera-Servera, eds., 498-506. Durham: Duke University Press.

Nichols, David C., “Black actor cast in a traditionally white role? Red Velvet explores what happens next,” Los Angeles Times, 4/8/2016.

Raden, Bill, “When a 183-Year-Old Racial Casting Controversy Feels Eerily Current,” LA Weekly, 3/29/2016.

Heffley, Lynne, “Red Velvet raises the curtain on a forgotten, barrier-breaking star,” Los Angeles Times, 4/16/2016.

Oliver, Marilyn Tower, “Red Velvet Explores the Life of Renowned 19th Century Black Actor Ira Aldridge,” Los Feliz Ledger, 3/31/2016.

Irwin, Ron, “Magnificent Red Velvet examines theater’s 19th century racial injustices in West Coast premiere,” Tolucan Times, 4/4/2016.

Hein, Mark, “Red Velvet Uncovers Hidden Black Superstar,” theatreghost.com, 3/29/2016.

2015

Schnibbe, Margie, “Margie.LA talks with Paul Outlaw,” KCHUNG Radio 1630 AM (Los Angeles), 9/23/2015.

2014

Ferguson, Richard, “A Conversation with Paul Outlaw,” Poetiscape podcast, 04/28/2014.

Barragan, Bianca, “Watch a Party at the Fitzpatrick-Leland House Go Terribly Awry,” Curbed Los Angeles, 2/3/2014.

Williams, Maxwell, “Asher Hartman’s Glass Bang,” Artbound, kcet.com, 1/28/2014; KCET-TV, 3/6/2014.

Tylevich, Katya, “Domestic Drama: Director Asher Hartman talks about casting architecture for his unusual play,” Mark, 12/2013–1/2014, pp. 122-125.

2013

Swed, Mark, “Six opera works-in-progress, all terrific, from the Industry,” Los Angeles Times, 6/3/2013.

Jette, David, “The Late, Late Show at Bootleg,” Sydiot, sydiot.com, 11/11/2013.

Keshaviah, Mayank, “Stage Raw: The Late, Late Show,” LA Weekly, 11/7/2013.

Tuck, Geoff, “Nowhere to Run, Nowhere to Hide, a weekend show in Berlin.” Notes on Looking, notesonlooking.com, 8/16/2013.

Walker, Alissa, “Machine Project’s Oddball Take on LA Architecture from a Helicopter Experiment to the Spirit of Whitney Houston” LA Weekly, 6/20/2013.

2011

Scott, Anna B., “To Avert the Risk of Going Too Far,” COLA Exhibition Catalog. pp. 60-65.

Holt, Brian. “Here’s to the Girls Who Stay Smart,” Out West Arts, outwestarts.com, 9/17/2011.

Madrid, Danyel, “Going Berserk: Paul Outlaw in Conversation,” and Getnick, Brian, “Another Song, Another Story: Curt LeMieux’s Objects in Performance,” Native Strategies, No.1, Spring-Summer 2011.

Tuck, Geoff, “Paul Outlaw: So Funny It Hurts,” Notes on Looking, notesonlooking.com, 4/16/2011. 

2010

Swed, Mark, “Inner realms of sight, sound: Under Glass brings togther just about everything,” Los Angeles Times, 5/14/2010.

Byg, Barton, “Class Conflict and Urban Public Space: Haneke and Mass Transit,” Chapter 22, A Companion to Michael Haneke (Oxford: Wiley Blackwell), Roy Grundmann, ed.

Hargraves, Kelly, “Rosanna Gamson/World Wide: Tov @ REDCAT,” Eye Spy LA, eyespyla.com, 3/26/2010.

Widdey, Benn, “Tov @ REDCAT,” laist, laist.com, 3/23/2010.

Josephs, Susan, “In 'Tov,' Rosanna Gamson ponders her family history -- and more,” Los Angeles Times, 3/14/2010.  

2009

Wilkinson, Ron, “We Pedal Uphill - Movie Review,” m&c, monstersandcritics.com, 3/29/2009. 

Catsoulis, Jeannette, “Tracking Paranoia and Injustice in 21st-Century America,” New York Times, 3/19/2009.

Schenker, Andrew, “Film Review: We Pedal Uphill,” Slant Magazine, slantmagazine.com, 2/15/2009.  

2008

Swed, Mark, “Cyber opera with a vacuum,” Los Angeles Times, 8/2/2008.

Heidemann, Jason, “Fest forward (Paul Outlaw goes Berserker),” Time Out Chicago, 4/17-23/2008. 

Libbon, S. E., “Exploring Otherness through Pepe Danquart's Schwarzfahrer: A Lesson in Cultural Sensitivity,” Die Unterrichtspraxis = Teaching German, Vol. 41 No. 1, 82-87.

2003

Moore, Michael Scott, “Fun on the Fringe: A Killer Performance (Paul Outlaw in Berserker),” SF Weekly, 9/10-16/2003. 

Price, Gene, “Outlaw Goes Berserker,” San Francisco Bay Times, 9/11/2003.

Probst, Andy, “Fringe Roundup,” American Theater Web, americantheaterweb.com, 8/16/2003.

Connell, Kevin, “Berserker,” nytheatre.com, 8/2003.

2002

Wolf, Sara, “Pick of the Week: Berserker/Terra Nova,” LA Weekly, 9/26/2002.

Steinberg, Janice. “Mind and body: two to tango,” San Diego Union-Tribune, 2/16/2002. 

2001

Segal, Lewis, “Gamson’s ‘Rita’ Attempts to Plumb the Depths,” Los Angeles Times, 3/3/2001.

2000

Giffin, Glenn, “Freud’s theories back beguiling performance,” Denver Post, 7/15/2000.