Alright – so today we’ve got the honor of introducing you to Sarah Mann. We think you’ll enjoy our conversation, we’ve shared it below.
Sarah, thanks for joining us, excited to have you contributing your stories and insights. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.
The most meaningful project I’ve worked on has to be the one I’m currently in the midst of: “Van Helsing’s Dracula.” The show is a poetically sapphic interpretation of the classic tale, following Van Helsing after she receives a mysterious invitation to an ominous dinner where the Countess Dracula steals Van Helsing’s lover and lures Van Helsing into a psychologically tormenting and sensually seductive trap. Van Helsing is faced with a decision: cross over fully into Dracula’s dark and twisted lifestyle, or walk away and leave her lover behind.
“Van Helsing’s Dracula” is the first show produced by my new company, Madmann’s Playground, a circus dinner theater company. As a performer (dancer and aerialist) and creative (producer, director, choreographer), I have been sitting on the idea of creating a circus dinner theater company for a while. I started to bring the idea to life just before the COVID-19 pandemic hit, but then, like all performing arts, had to take a beat while everyone navigated the new “normal.”
Early in the pandemic, I recruited two dear friends and fellow performers/creatives, Corrin Evans and Katie Rediger, to write an original story based on Dracula for Madmann’s Playground’s eventual launch. I also brought my father – and 2-time Emmy award winning film composer – Hummie Mann onto the project to create an original gothic classical score for violin, harp, keyboard, and percussion. About a year and a half ago, I started looking for performers, landing an incredible 8-female cast of aerialist, acrobats, dancers, contortionists, and actors to bring the story to life. After just over 1 year of rehearsals – and now that the performing arts is back and people are going out to eat, seeing shows, and living relatively normal lives again – I am excited to officially launch my new business with “Van Helsing’s Dracula.”
“Van Helsing’s Dracula” not only marks the launch of a business I’ve been dreaming about starting for a few years now, but it’s the first time that I am truly taking a risk and putting my art, my money, and myself on the line. The majority of my career as a creative artist (and not just a performer) has been focused on helping other creatives produce their art. I have been a producer on a variety of shows and festivals, worked as a director of a few dance companies, and coordinated all of the schedules and backstage details for one-off events & shows. However, none of these shows, companies, or events were mine. I always played a major role in bringing the idea(s) to life, but I could never claim them as mine.
While there are various other creatives involved – without whom “Van Helsing’s Dracula” would not be what it is – this theatrical dinner circus experience is without a doubt mine. It’s my brain child. It has been surreal to see it come alive and take shape the way it has. It definitely does, and will continue to, stand out in my mind as one of the most meaningful projects of my career.
Sarah, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
I have always been a performer since a young age, studying both dance and music (flute). After high school, I chose to focus on dance as a career path and graduated from Chapman University with a Bachelor of Fine Arts. After college, I moved up to LA to pursue a career in the commercial dance industry, but quickly found that it was in the nightlife industry that I belonged. I performed as a dancer and aerialist in a variety cabaret and burlesque shows and at private events and parties, although it was primarily my experience performing in The Toledo Show (LA’s longest-running cabaret show) that made me into the artist I am today.
Aside from performing, I have also held various roles on the production side of the live entertainment industry. Outside of creating Madmann’s Playground, I am currently the Production Coordinator for The Toledo Show and for Sweven, an erotic performance art company. Outside of the nightlife industry, I am the Managing Director of ZiRu Dance, a non-profit BIPOC modern dance company in the Bay Area/Peninsula, and am a Co-Producer of ZiRu Dance’s Silicon Valley Dance Festival.
Over the last few years, as I have taken a step back from performing (primarily as a result of injuries), I have found myself being sought out by other performers who are interested in (or who are currently) creating shows to help them with the logistical and theatrical tech elements. My knowledge of what the performers need and how to best support them, as well as my organizational skills and ability to problem solve and navigate the technical production elements is what I am able to bring to the table.
While I miss performing regularly, I enjoy being part of a creative team and creating content for live stage shows. I pride myself on my ability to professionally and systematically coordinate and produce live stage shows in a variety of venues from large professional theaters to small bars. I am proficient in managing the backstage staff during a production, coordinating with lighting and sound designers, working with live musicians, coordinating venues and their management team, communicating with all personnel, as well as organizing and planning the day-to-day activities for large events/parties/productions.
Despite enjoying what I do, I have found myself frustrated with the lack of unique shows I see in Los Angeles, as well as the lack of funding available to create high-quality, rehearsed productions that are able to pay their performers a rate that adequately matches their skills. Don’t get me wrong: there are definitely some great shows in LA. However, it has been a while since I’ve seen a show (both in and outside of LA) where I was truly wowed and felt inspired.
As a result of this, I have now taken the jump to create Madmann’s Playground. A ticket to Madmann’s Playground provides audience members with a 3-course meal, a fully produced and rehearsed circus show, and live music. Every production has an original story, original music, and a menu based on the show.
Madmann’s Playground is a company where performers of all talents, writers, composers, chefs, and mixologists can come together and create a unique, immersive experience for food lovers and performing arts supporters. As an added bonus, Madmann’s Playground aims to provide a home for circus artists, who so often have to leave Los Angeles to find regular work.
Madmann’s Playground is still in its start-up phase and is currently in the process of launching our first production, “Van Helsing’s Dracula.” The show opens October 21, with a 4 night run as a pop-up experience. Moving forward, in 2024, we plan to host three pop-ups (with 4-6 nights each) and hope to have a brick-and-mortar location by 2025.
I see Madmann’s Playground as an opportunity to do something different with how people enjoy food and how performing art is experienced. As a creative and performer, Madmann’s Playground is the dream. It elevates the dining experience for the audience while elevating the performing experience for the talent by providing a space where they can grow as performers as they perfect their skills and enhance their storytelling abilities while simultaneously adequately paying them for their time to rehearse and perform.
Through Madmann’s Playground, I aim to create a collaborative space where creatives & performers – especially BIPOC creatives & performers who have generally been underrepresented in the professional performing arts world – can be highlighted. I strive to have a safe space where everyone – regardless of race, sexual orientation, body shape, or age – can thrive.
Are there any resources you wish you knew about earlier in your creative journey?
Yes! As a creative, the creative parts are easy. What is not easy is the business side. We often forget, as creatives, that ultimately we are doing business. And it’s important to understand all of the business elements that may come up, whether it’s simply setting up your LLC or DBA, how to raise money to be able to create your art, or understanding if there is any insurance required or rights that must be acquired.
Luckily, a friend of mine pointed me in the direction of the NEW (New Economics for Women) Women’s Business Center (WBC). NEW-WBC is an amazing non-profit organization that provides resources and tools to ensure women entrepreneurs are on the right track for economic independence through small business ownership. For all you men out there, know that NEW-WBC is available to you as well. I have met many men in my webinars and workshops that have benefitted from the resources provided by NEW-WBC.
NEW-WBC has been instrumental in helping me get Madmann’s Playground off the ground. I would highly recommend them to any and all creatives that are struggling to understand the business side of what we do. Check them out at https://www.new-wbc.org/about-us/
What do you think is the goal or mission that drives your creative journey?
I would have to say that my goals are twofold.
When it comes to being a producer (and more specifically with Madmann’s Playground), I want to create a home for the LA circus community. There are so many talented performers – aerialists, contortionists, jugglers, cyr wheel artists, clowns, acrobats, tightrope walkers, rola bola performers and more – in the city. While aerialists and contortionists are often seen in nightclubs, bars, and at private events, most circus jobs come in the form of one-off movie or television scenes, commercials, or out-of-town residencies. Many circus performers leave LA to find regular work because there just isn’t anywhere for them to showcase what they do. This was my primary goal when I started thinking about Madmann’s Playground.
In addition, I want to use Madmann’s Playground as a platform to highlight BIPOC performers and offer circus to underserved communities. Circus (like most performing arts) costs a lot of money and is often reserved for people in higher income brackets. I want to be able to offer kids in low-income communities a chance to play in the circus, learn to love it, and ideally flourish as artists themselves, whether they go on to be performers or just appreciate it recreationally.
When it comes to my goals as a performer, I would like to work as an aerialist again. However, since my goals as a producer are the current priority, my aerial goals may change to simply getting back into class and training, and just to enjoy flying again.
Contact Info:
- Website: www.madmannsplayground.com & www.themadmann.com & www.sarahbrycemann.com
- Instagram: @madmannsplayground
- Facebook: https://www.facebook.com/madmannsplayground
- Linkedin: https://www.linkedin.com/in/sarah-bryce-mann-36376847/
- Youtube: https://youtube.com/playlist?list=PLMo4K3JieBd6XS0-Fs1ImEVOUjuO2ox5v&si=0S0goNhNO1bkDYJR
- Other: https://www.tiktok.com/@vanhelsingsdracula?lang=en
Image Credits
The two headshots of me (aerial shot in the nude body suit & burlesque shot in the red dress with pearls) were taken by Bruno O’Hara The two black and red photos (group photo and Van Helsing’s Dracula poster) were done by Corrin Evans The other 4 photos (of a live performance of Van Helsing’s Dracula) were taken by G L Askew II Thanks!