The First Line of Dante’s Inferno is a wild, feral trip into nature. Ann Espinoza marches deep into a state forest looking for her missing sister, and finds herself.
An operatic monodrama of virtuosic chants, rants, songs and spectacle, surveying toxic masculinity through the ages by needling Anglo-Saxon epics with personal anecdote and pseudo-history. Paul Pinto is a writer, composer, performer, opera-sermonizer, and multi-disciplinary dabbler. Kristin Marting is an award-winning director and writer of hybrid performance
Ring in the Lunar New Year of the Horse with H.T. Chen & Dancers. Teahouse Performances include a celebration of and reflection on the Chinese in the Americas through dance.
FOOTNOTES is an immersive puppetry performance takes place in four distinct locations and examines the theme of walking….……its history, its science, its political power, its poetic and spiritual dimensions.
Ring in the Lunar New Year of the Horse with H.T. Chen & Dancers. Teahouse Performances include a celebration of and reflection on the Chinese in the Americas through dance.
The evening includes a premiere with music by MacArthur Award winning composer Heather Christian, plus the 1983 Afro Brazilian work Artificial Horizon with live drumming, and Bites, from 1996. Jane Comfort has been making multi-disciplinary work for her company since 1978 and has won major accolades, including two Bessie Awards, a Guggenheim, and American Dance Guild’s Lifetime Achievement Award.
Sophocles’ tragedy is reimagined with a metaphysical twist: a chorus of historical philosophers elevates Jocasta to the throne, squaring off with Antigone in a mother-daughter throwdown. Company: Peculiar Works Project has created and produced indie theater in NYC since 1993, presenting compelling stories that examine our current moment with complexity and originality.
Krymov has never staged “Uncle Vanya” But now—as our own world burns with despair, longing, and betrayal—it is time for the Lab to take up Chekhov’s masterpiece, transforming it into a grotesque elegy, a wasteland vaudeville. Krymov Lab NYC develops bold, experimental, design-forward theater under the leadership of Dmitry Krymov, “one of the world’s finest theater-makers.” (The New York Times)
The dining room of a sanatorium in the Alps. The deck of a ship on it’s way to Egypt. A country home in the Northeast. An uprooted family. An accidental death. Time elongates, compresses, becomes disjointed, and layers events past, present and imagined. Combining richly textured music-theater with striking visual imagery, Talking Band’s elegant, eloquent, profound performance work has for fifty years been a cornerstone of New York City’s avant-guard theater community. Recipient o
Take Me to Dollywood offers a full-length collage of scenes and experiments with a queer southern twang. On a porch in the south, A faceless Dolly Parton haunts the stage as characters find themselves on the edge of relationships, sexuality, and reality. A woman has eaten her hand, a sexy gummy bear awaits certain death, two men meet for a hook-up, a boss rummages through his employees' desks, and the playwright details his sex life.
