Tom at the Farm
Rodrigo Portella stages Michel Marc Bouchard's play on a ring of open earth, where a grieving man is drawn into a family that won't let him leave. Threats slide into tenderness.
Rodrigo Portella stages Michel Marc Bouchard's play on a ring of open earth, where a grieving man is drawn into a family that won't let him leave. Threats slide into tenderness.
Liz Santoro recounts her life onstage, but some memories are AI-generated and some movements come from an algorithm trained on her dancing. It asks where the body ends and the machine begins.
Playwright Walker Caplan reads from DUMMY and talks with Eliza Palter of New Relic Theatre about reimagining the historic "dumb scene," drawing on archival research and library materials.
Guest curator Stephanie Acosta frames nature as sci-fi, not a crunchy walk. Video projection by Dakota Gearhart, live sound from Kerosene Jones and Julia Santoli, and a listening session with visuals.
A one-woman operetta for voice, classical guitar, and electric guitar, where a cockroach becomes an artist's unlikely muse. It begins intimate, drifts into outer space, and returns changed.
Watch a film get made live: overhead projectors, paper puppets and tiny sets build the screen image, with a live score. The story begins where Shakespeare's play ends.
Ten Bones Theatre Company tries to recreate "It" with nothing but memory, a recent viewing of the film, and a lot of wigs. No scripts, no rehearsals, no sobriety.
Mroué and Majdalanie turn Bertolt Brecht's run-in with the House Un-American Activities Committee into theater: bleakly funny, and pointed about how an artist talks his way out of a room.
Dorothée Munyaneza uses her own body to summon Tituba, Maryse Condé's heroine, in a one-hour piece drawn from Elsa Dorlin's essay about people erased from history.
After a soldier shoots a deaf boy, a whole town turns deaf in defiance. A deaf and hearing ensemble tells it with sign language, puppetry and live cinema, from Ilya Kaminsky's poetic narrative.
Electric guitar quartet Dither open with new commissions channeling Hendrix's experimental language, then director R.B. Schlather and Ruckus shrink Handel's final opera, Deidamia, to chamber scale.
A gathering built around a medical mannequin named Jeanie, made by a choreographer who has worked as a frontline nurse for ten years. It honors health care workers and closes a grief trilogy.
Nine officiants sing, chant, testify, and dance through devotional phrases from many faiths, part concert and part ceremony. Hypnotic, funny, and genuinely strange.
Slick, irreverent drag and burlesque from one of the longest-running queer performance collectives, with core members like Divina GranSparkle and Vigor Mortis plus rotating special guests.
Ain Gordon and Josh Quillen mourn family absences in a world premiere of little songs and tales, from a thrift shop rug to a garden elf, with bracing candor and silly detail.
A drag variety show from queer BIPOC performers: a ceremonial dance opener, taped sketches, stand-up, characters and live music. This 8th edition centers on mental health.
A 50-minute work from choreographer Neil Greenberg, built from the performers' own recorded improvisations and set to music Zeena Parkins and James Lo composed together. Greenberg dances in it too.
Paul Lazar plays the sky itself in Anne Carson's text, moving through song, dance, video and phone calls, with imagery by Annie-B Parson. Strange, funny and tender.
Opera Praktikos rebuilds Bellini and Romani's The Sleepwalker so spoken, sung, and signed languages work as one voice, with accessibility built in from the start rather than added on.
Children narrate and reenact a real criminal case woven with the Medea myth, a tragedy handed to the young to witness. Violent and mature, yet unexpectedly tender.