Constellations Contemplative Performance Fills the Empty ( ) Space

As the community emerges from the winter months, Empty ( ) Space Company will provide nourishment for our hearts and minds, and appreciation for the life experiences that shape us and our communities. The curtain rises this March for a production of playwright Nick Payne’s Constellations at the Verge Theater, produced by Empty ( ) Space Company.

Scaffolding Universes of Human Decisions
True to their creative natures, Bradford Rosenbloom and Evan Wilmes bring their unique artistic perspectives and an immersive audience experience to the stage to produce Constellations. Wilmes serves as Director and production designer, with Rosenbloom taking the stage as Roland. In addition, Empty ( ) Space Company will bring back the talents of sound designer KC Luchsinger, and lighting designer Julie Seitel, who return from their work on Red and Middletown. Chris Naro (an experienced, well-known drummer from Bozeman) will also return from Middletown with an original score for the production of Constellations.

The play unfolds in an artfully conceived cube, designed and constructed by Wilmes, who describes it as “48 scenes (or scaffolding of universes) in front of the audience with multiple angles of vision, which creates an experience for the audience, as if the play were written in front of them versus being viewed by them.” With a background in philosophy, humanities, and English Literature, Wilmes layers his art and design work with concepts and implications beyond expectation, and this deeper connection with meaning facilitates design construction that could arguably become a character of its own.

Within this cube, this block of time and space, the audience is pulled into each moment, interlaced with the varied human interactions and choices that determine how history will unfold. Constellations follows the interactions of two people, Roland, a beekeeper played by Bradford Rosenbloom, and Marianne, a theoretical physicist played by Kyrie Dawson. The play does not develop in the typical sequence but rather pulls from multiple possibilities. As Roland and Marianne meet, the possible outcomes are endless: a single statement, attitude, or behavior could alter the future. Constellations engages the boundless potential layered within the impact of human decisions as these choices play out in various forms on stage. Wilmes appreciates the layered approach to the play because, “the viewing of these moments leads us to a balancing act of reality; the spectrum of emotions experienced in life lead us toward its purpose.” Rosenbloom reflects on the meaning of the play as he recalls the mantra of his mentor, Mary Overlie, creator of The Six Viewpoints, who claimed; “it all comes back to love.” Rosenbloom’s approach to performing as Roland encompasses this universal concept. He states that, “No matter how many worlds, obstacles, or trials we go through, when there is a strong heart connection, it is that connection that guides us, provides a purpose to our lives, and evokes the provocation of the impossibility of saying goodbye.”

This connection between two people provides the basis of their lives, their thoughts, and their choices as the play unfolds. Dawson’s palpable excitement for the play stems from this connection, stating; “What really thrills me about Constellations is the fact that it focuses so tightly on just two characters. I love acting in two-person shows. There’s a deeper sense of ownership when you’re involved in every moment, in every rehearsal, and with Constellations, it’s all about the relationship between characters. The structure of the play also adds to this—we get to revisit the same scenes many times as we’re led through parallel universes. While we watch Marianne and Roland develop their connection, the audience also gets to form their own relationship to the play as it progresses, catching even minute changes to the dialogue and noting what is different in this universe. Through its many parallel universes, Constellations allows us to see the facets of Marianne and Roland, revealing what is at their core through it all.” 

This poignant production, a masterclass in storytelling, leaves audiences grappling with profound questions about life, love, and the enduring power of human connection. It is a reminder that every choice, no matter how small, has the potential to shape the course of our lives and the lives of those around us. The impact and perspective gained through the artful and creative theater experience should facilitate an easy choice for all to attend Empty ( ) Space Company’s production of Constellations.


Creativity Beyond Storytelling
Founded in 2023 by Bradford Rosenbloom and Evan Wilmes, Empty ( ) Space Company is an interdisciplinary design collective with a focus on professional theater, art, performance, and education. The conceptions produced by Empty ( ) Space Company push the boundaries of expression. Wilmes incorporates his tactile art and design work into the theater, while Rosenbloom performs through an experimental and post-modern lens—both pull the audience from the comfortable space of observation into the heart of their productions. Rosenbloom is known for his transformative and contemplative performance experience in the classroom at Montana State University, where he instructs Performance and Public Speaking and Embodied Leadership, and on the stage as performer and director for numerous theater shows. His collaboration with Wilmes’ background in philosophical theory, literature, and tactile art design transforms the theater experience into a contemplative engagement.

In August 2023, the production of Red, written by John Logan, showcased the creative possibilities of Empty ( ) Space Company, with Rosenbloom directing and Wilmes playing the lead role as Mark Rothko. The theater became the studio, and seventeen original paintings completed by Wilmes lined the walls around the audience, placing them in the heart of the play, an inescapable yet deeply engaging connection with the work on stage. In this immersive audience experience, Wilmes plastered and painted while he wrestled with the emotions, art, and experiences of everyday life. This unfiltered representation of human experience, emotion, and choice has become the hallmark of Rosenbloom and Wilmes’ performative and directive work, and will inform future productions from Empty ( ) Space Company. Rosenbloom’s direction of Red followed a successful run of Middletown, another play under his direction that incorporated Wilmes’ production design, which developed an expectation for provocative and raw displays of human emotion and vulnerability.

Constellations is the second residency by Empty ( ) Space Company at the Verge Theater. Similar to their previous work, Wilmes and Rosenbloom provide an introspective space of thought, concept, and philosophy. Dawson looks forward to the opportunity to play the role of Marianne and work with this creative pair due to their ability to “seamlessly blend art, theater, and theory.” She applauds Empty ( ) Space Company for their willingness “to dive into the messy, complex work of reflecting the human experience. Their approach doesn’t just tap into the emotions we carry in our hearts—it challenges us to think, to wrestle with the concepts that shape our lives.” Dawson’s sentiments solidify the notion that Empty ( ) Space Company is the perfect collaboration for this upcoming production.

The artists mentioned can be reached through the following Instagram accounts: @bradfordrosenbloom, @emptyspacecompany, @plaster.bozeman.    

Kelsey Green (she/her) is a passionate Writing and Seminar instructor at Montana State University, where she fosters critical thinking and creative expression in her students. Currently pursuing a PhD in Education, Kelsey is dedicated to exploring innovative teaching methods and advocating for meaningful educational change.