Oklahoma Samovar celebrates the American immigrant experience by examining the shifting identity, traditions, and culture clashes that shape five generations of a Jewish family.
Birth + Carnage, a work by Marla Phelan, merges choreography and astrophysics– transforming computational simulations of stellar birth into visceral metaphor, digital landscape, and choreographic framework.
PRECIPICE sets an intimate story of a young woman’s struggle in the epic landscape of America’s mountain west. Like the land around her, her wild spirit is crushed by disregard. She escapes to the precipice and leaps, awakening mute in a wilderness in which she must fight to find her voice. The opera’s visual world is evoked by miniature dioramas and large-scale video. The score, inspired by American folk music, art song, and the sounds of nature, features seven singers, string quintet, pi
12 Last Songs is part live exhibition, part epic performance. It’s about work and how we spend our time. Making a living. Finding your passion. Watching the clock. From midday to midnight on Saturday, January 17, real workers from New York City will perform paid shifts on stage, in front of a live audience. There are no actors. A builder might build a wall, a hairdresser might cut someone’s hair, a chef might prepare a meal. We’ll find out what they do, and how they see themselves in the w
Compagnia de’ Colombari’s KING LEAR is a primal, physical, and potent “paper crown” Lear that strips the Shakespearian classic to its essence. Coonrod utilizes her signature “multiplicity” to shift and deepen audiences’ connection with the characters.
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 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.
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.
