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shows we like
Blast! by Ruth Childs
Performances will take place at The Chocolate Factory Theater, 38-33 24th Street, Long Island City. Co-Presented with L’Alliance New York’s Crossing The Line Festival. In her solo performance Blast!, Ruth Childs crafts a choreographed dialogue with the percussive sound design of Stéphane Vecchione, weaving its rhythms and ruptures together with movement into a choreographic circle. Drawing from her observations of how humans express themselves, Childs confronts and interacts with representations of bodies that embody a terrible violence. What sounds, expressions, and words emerge from these bodies? Are they storytelling, ballad, poetry, or nonsense? “The choreographer and dancer reinvents her stage presence in a punchy piece, with the strange flavor of a performance as unmissable as it is mysterious.” — Nathalie Yokel, La Terrasse Blast! is presented in partnership with the Center for Ballet and the Arts at New York University where Ruth Childs will be in residence from September 2025-May 2026. L’Alliance New York is an independent, not-for-profit organization committed to providing its audience and students with engaging French language classes and audacious multi-disciplinary programming that celebrates the diversity of francophone cultures and creativity around the world. A welcoming and inclusive community for all ages and all backgrounds, L’Alliance New York is a place where people can meet, learn, and explore the richness of our heritages and share discoveries. L’Alliance New York strives to amplify voices and build bridges from the entire francophone world to New York and beyond. Crossing The Line is a citywide festival that engages international artists and New York City audiences in artistic discovery and critical dialogue to re-imagine the world around us. Crossing The Line is produced by L’Alliance New York in partnership with leading cultural institutions.
Wake
In a magical kitchen where memory, grief, and absurdity collide, a woman mourning her mother’s death navigates the messy, beautiful, and often hilarious process of letting go. Even if closure proves elusive, there is breakfast. There is warmth. There is someone sitting beside you. Can grief be metabolized like a meal? With help from her sibling, a chorus of strange visitors, and the lingering scent of brisket, Wake is a collective attempt to make peace with impermanence and find the poetry in goodbye.
Martha@BAM—The 1963 Interview
More than a theatrical work or dance performance, Martha@BAM—The 1963 Interview is an act of artistic resurrection. At the heart of the performance is Martha Graham, the visionary choreographer who changed the course of modern dance during the first half of the 20th century. Making their BAM debut, Richard Move embodies Graham in all her complexity and elegance, faithfully recreating an interview held on stage at the 92nd Street Y on March 31, 1963, in which she discussed the meaning and method behind her most iconic roles. Appearing opposite Move is Tony Award-winning actress and playwright Lisa Kron, portraying dance critic and interviewer Walter Terry.
A highly regarded choreographer and performer in their own right, Move was already known for their uncanny performances as Graham when the 92nd Street Y’s Harkness Dance Center presented them with a recording of the 1963 interview. Joined by Kron and two former Graham company dancers, Catherine Cabeen and PeiJu Chien-Pott, demonstrating Graham’s dance vocabulary, Move lovingly re-enacts the historic event, bringing to life the passionate presence of an iconic American artist.
A highly regarded choreographer and performer in their own right, Move was already known for their uncanny performances as Graham when the 92nd Street Y’s Harkness Dance Center presented them with a recording of the 1963 interview. Joined by Kron and two former Graham company dancers, Catherine Cabeen and PeiJu Chien-Pott, demonstrating Graham’s dance vocabulary, Move lovingly re-enacts the historic event, bringing to life the passionate presence of an iconic American artist.
Baile Cangrejero
A gem of Pregones/PRTT’s original musical theater repertory, Baile Cangrejero is a vibrant stage celebration of Afro-Caribbean rhythm, poetry, and cultural pride. With the electrifying sounds of bomba, plena, and bolero, the production brings to life the timeless words of legendary poets like Luis Palés Matos, Julia de Burgos, Nicolás Guillén, and more.
Rooted in tradition yet boldly contemporary, Baile Cangrejero highlights deep connections across the rich and varied Afro-descendant musics, histories, and identities of Puerto Rico, Cuba, Dominican Republic, and Peru. This high-energy theatrical concert for all audiences is both an homage and an invitation to feel, move, and remember through rhythm and verse.
Starring award-winning actor Anna Malavé and directed by the acclaimed Jorge B. Merced.
Rooted in tradition yet boldly contemporary, Baile Cangrejero highlights deep connections across the rich and varied Afro-descendant musics, histories, and identities of Puerto Rico, Cuba, Dominican Republic, and Peru. This high-energy theatrical concert for all audiences is both an homage and an invitation to feel, move, and remember through rhythm and verse.
Starring award-winning actor Anna Malavé and directed by the acclaimed Jorge B. Merced.
LACRIMA
Paris 2025. A prestigious fashion house receives a special order; prepare a wedding dress for an English princess. From France to India, Caroline Guiela Nguyen connects the process of creation for a precious dress to the lives of tailors, lace-makers and embroiderers, exploring the secret processes and the dynamics that lie beneath the surface in the world of high fashion. Paris 2025. A prestigious fashion house receives a special order; prepare a wedding dress for an English princess. From France to India, Caroline Guiela Nguyen connects the process of creation for a precious dress to the lives of tailors, lace-makers and embroiderers, exploring the secret processes and the dynamics that lie beneath the surface in the world of high fashion.
Blue Cowboy
Award-winning theater artists David Cale and Les Waters unite to premiere a powerful, intimate new play. A writer from New York travels to Ketchum, Idaho to work on a film script set in Sun Valley. His plans and life take a wildly unanticipated turn after he has a chance encounter with an elusive ranch hand at the town’s annual "Trailing of the Sheep Festival". Blue Cowboy, the new solo work from David Cale, is the frank and sexually explicit story of two men from very different worlds. One who is open about his life, and the other whose life remains a self-imposed mystery to everyone around him, but who both share a profound need to intimately connect to another human being. Cale tells the story in his signature style full of vulnerability and blunt confession.
For the Streets! A Festival of Political Performance
Join Radical Evolution and friends at For the Streets! – a Festival of Political Performance. All are welcome to experience the rich and potent tradition of Street Theatre from an array of performing artists hailing from the five boroughs. A longstanding practice in NYC, Street Theatre has been a catalyst for illuminating political issues and enlivening movements to combat inequality and injustice. Join us and witness how Street Theatre is once again bridging the gap between performance and politics.
Featured artists include: Liberation Arts Collective, Moon Joy Divine, The Street Theatre Crew, Theatre of the Oppressed NYC and more!
Featured artists include: Liberation Arts Collective, Moon Joy Divine, The Street Theatre Crew, Theatre of the Oppressed NYC and more!
Bites by Kay Adshead
Bites by Kay Adshead is a theatrical banquet — a poetic feast of cruelty, resilience, and survival. This October workshop will explore two of its seven “courses” through improvisation, physical action, and ensemble work. The aim is not to present a finished performance, but to invite audiences into a shared theatrical ritual where fragility and imagination become tools of resistance.
This October process aims to explore how the poetic writing — more lyrical and elusive than narrative — can open up to multiple interpretations. In this phase, all geographic references will be removed, shifting the focus away from a specific place or time toward a more universal condition. Situations change, contexts shift, yet dynamics of power, violence, and the denial of human rights repeat themselves: “If we want things to stay as they are, things will have to change” (Giuseppe Tomasi di Lampedusa, The Leopard).
The goal is not to present a finished performance but to undertake a shared process in which actors, through structured improvisations, physical action studies, and ensemble work, can discover their own voice and creativity and place it in service of something higher and more universal. For this to happen, I believe it is necessary to set aside our small self, to make space for fragility and vulnerability — conditio sine qua non, in my view — to become vessels of an art that offers political thought, in the etymological sense of the word: a reflection on the polis, on community. In this way, the group creates a theatrical ritual where imagination becomes a tool of resistance.
This October process aims to explore how the poetic writing — more lyrical and elusive than narrative — can open up to multiple interpretations. In this phase, all geographic references will be removed, shifting the focus away from a specific place or time toward a more universal condition. Situations change, contexts shift, yet dynamics of power, violence, and the denial of human rights repeat themselves: “If we want things to stay as they are, things will have to change” (Giuseppe Tomasi di Lampedusa, The Leopard).
The goal is not to present a finished performance but to undertake a shared process in which actors, through structured improvisations, physical action studies, and ensemble work, can discover their own voice and creativity and place it in service of something higher and more universal. For this to happen, I believe it is necessary to set aside our small self, to make space for fragility and vulnerability — conditio sine qua non, in my view — to become vessels of an art that offers political thought, in the etymological sense of the word: a reflection on the polis, on community. In this way, the group creates a theatrical ritual where imagination becomes a tool of resistance.
Show Up, Kids! Interactive Family Comedy
Round the Block!
Thanks to a generous grant from the Foundation for Fairer Capitalism, Theaterlab’s ROUND THE BLOCK!™Celebrating Arts and Community in the Garment District: is back and free to attend!
A promenade-style performance, ROUND THE BLOCK!™ invites you to discover the creative force of the Garment District, its fluctuating history, and the secret, unsung stories of the city blocks we call our home. The event is open to the public and brings together local businesses, community organizations, garment workers, visual artists, choreographers, and theatermakers on a guided tour of the neighborhood.
Following District 3 Councilmember Erik Bottcher’s championing of the Midtown South Mixed-Use Plan, which allows more residential development in the Garment District –as well as preserving the neighborhood’s rich history of fashion manufacturing– it is essential that we continue to articulate our collective identity and our community’s history of tenancy.
“This is why we live in New York City,” says Councilmember Erik Bottcher: “we live here because you walk out your front door and you have access to the best arts and culture on planet Earth.” As a celebration of the Garment District’s creative scene, ROUND THE BLOCK!™ devotes itself to honoring this artistic legacy.
As a community-focused developmental lab, Theaterlab has always been a champion of placekeeping and communal care. By financing this event, making it free to attend, this grant allows Theaterlab to continue to highlight and celebrate the Garment District’s rich history, its private and public spaces, and its heart-warming diversity.
ROUND THE BLOCK!™ will run on selected Fridays from September 26 to November 21, 2025. Guided by local artists, audiences depart on a 60 minute tour, starting at 520 8th Avenue and concluding at Theaterlab on W 36th St. On September 26th, October 24th and November 21, audiences are invited to stay at the theater and catch the show of the night. Offerings include (No) Refunds, The Belle of Amhurst, FULL CONTACT and X#*! YOU VERY MUCH, MOM.
A promenade-style performance, ROUND THE BLOCK!™ invites you to discover the creative force of the Garment District, its fluctuating history, and the secret, unsung stories of the city blocks we call our home. The event is open to the public and brings together local businesses, community organizations, garment workers, visual artists, choreographers, and theatermakers on a guided tour of the neighborhood.
Following District 3 Councilmember Erik Bottcher’s championing of the Midtown South Mixed-Use Plan, which allows more residential development in the Garment District –as well as preserving the neighborhood’s rich history of fashion manufacturing– it is essential that we continue to articulate our collective identity and our community’s history of tenancy.
“This is why we live in New York City,” says Councilmember Erik Bottcher: “we live here because you walk out your front door and you have access to the best arts and culture on planet Earth.” As a celebration of the Garment District’s creative scene, ROUND THE BLOCK!™ devotes itself to honoring this artistic legacy.
As a community-focused developmental lab, Theaterlab has always been a champion of placekeeping and communal care. By financing this event, making it free to attend, this grant allows Theaterlab to continue to highlight and celebrate the Garment District’s rich history, its private and public spaces, and its heart-warming diversity.
ROUND THE BLOCK!™ will run on selected Fridays from September 26 to November 21, 2025. Guided by local artists, audiences depart on a 60 minute tour, starting at 520 8th Avenue and concluding at Theaterlab on W 36th St. On September 26th, October 24th and November 21, audiences are invited to stay at the theater and catch the show of the night. Offerings include (No) Refunds, The Belle of Amhurst, FULL CONTACT and X#*! YOU VERY MUCH, MOM.
All Right. Good Night.
ABOUT THE WORK
Co-Presented with L’Alliance New York as a part of Crossing The Line Festival
On March 8, 2014, Malaysia Airlines Flight MH370 vanished mid-flight — an event that remains one of aviation’s greatest mysteries. In All right. Good night. (2021), acclaimed director Helgard Haug interweaves this unfathomable disappearance with a deeply personal story: her father’s slow fading into dementia. Through documentary storytelling and an evocative live score by Barbara Morgenstern and the Zafraan Ensemble, the production transforms loss into an immersive theatrical experience. How do we make the missing tangible? What remains when presence disappears? This haunting and powerful performance, featuring five musicians and two performers, invites us to confront the unknown.
ABOUT THE ARTIST
Helgard Haug, Stefan Kaegi and Daniel Wetzel founded the theatre-label Rimini Protokoll in 2000 and have since worked in different constellations under this name. Work by work they have expanded the means of the theatre to create new perspectives on reality. Rimini Protokoll often develop their stage-works, interventions, performative installations and audio plays together with experts who have gained their knowledge and skills beyond the theatre. Furthermore, they like to transpose rooms or social structures into theatrical formats. Many of their works feature interactivity and a playful use of technology. rimini-protokoll.de
Barbara Morgenstern is an electronic musician, composer, producer and choir director. In 1998, she began a serious of releases on Berlin label Monika Enterprise, and her most recent album came out in 2018 via Staatsakt. Since 2007, she has been directing the Chor der Kulturen der Welt at Berlin’s HKW (House of World Cultures), for which she also composes, arranges and selects the program. She has been working with Rimini Protokoll consistently since 2012.
Zafraan Ensemble represent music that reflects today’s life, today’s society, today’s reality in all possible facets. Through interaction with other art forms, Zafraan
observes, explores and processes all that surrounds us: people, events, nature and technology, with all the accompanying normalities and absurdities, Formed in Berlin
in 2009 and consisting of ten permanent members from Spain, France, New Zealand, Australia and Germany, the group preforms violin, viola, cello, bass, flute, clarinet, saxophone, harp, piano and percussion.
L’Alliance New York is an independent, not-for-profit organization committed to providing its audience and students with engaging French language classes and audacious multi-disciplinary programming that celebrates the diversity of francophone cultures and creativity around the world. A welcoming and inclusive community for all ages and all backgrounds, L’Alliance New York is a place where people can meet, learn, and explore the richness of our heritages and share discoveries. L’Alliance New York strives to amplify voices and build bridges from the entire francophone world to New York and beyond.”
Crossing The Line is a citywide festival that engages international artists and New York City audiences in artistic discovery and critical dialogue to re-imagine the world around us. Crossing The Line is produced by L’Alliance New York in partnership with leading cultural institutions.
Co-Presented with L’Alliance New York as a part of Crossing The Line Festival
On March 8, 2014, Malaysia Airlines Flight MH370 vanished mid-flight — an event that remains one of aviation’s greatest mysteries. In All right. Good night. (2021), acclaimed director Helgard Haug interweaves this unfathomable disappearance with a deeply personal story: her father’s slow fading into dementia. Through documentary storytelling and an evocative live score by Barbara Morgenstern and the Zafraan Ensemble, the production transforms loss into an immersive theatrical experience. How do we make the missing tangible? What remains when presence disappears? This haunting and powerful performance, featuring five musicians and two performers, invites us to confront the unknown.
ABOUT THE ARTIST
Helgard Haug, Stefan Kaegi and Daniel Wetzel founded the theatre-label Rimini Protokoll in 2000 and have since worked in different constellations under this name. Work by work they have expanded the means of the theatre to create new perspectives on reality. Rimini Protokoll often develop their stage-works, interventions, performative installations and audio plays together with experts who have gained their knowledge and skills beyond the theatre. Furthermore, they like to transpose rooms or social structures into theatrical formats. Many of their works feature interactivity and a playful use of technology. rimini-protokoll.de
Barbara Morgenstern is an electronic musician, composer, producer and choir director. In 1998, she began a serious of releases on Berlin label Monika Enterprise, and her most recent album came out in 2018 via Staatsakt. Since 2007, she has been directing the Chor der Kulturen der Welt at Berlin’s HKW (House of World Cultures), for which she also composes, arranges and selects the program. She has been working with Rimini Protokoll consistently since 2012.
Zafraan Ensemble represent music that reflects today’s life, today’s society, today’s reality in all possible facets. Through interaction with other art forms, Zafraan
observes, explores and processes all that surrounds us: people, events, nature and technology, with all the accompanying normalities and absurdities, Formed in Berlin
in 2009 and consisting of ten permanent members from Spain, France, New Zealand, Australia and Germany, the group preforms violin, viola, cello, bass, flute, clarinet, saxophone, harp, piano and percussion.
L’Alliance New York is an independent, not-for-profit organization committed to providing its audience and students with engaging French language classes and audacious multi-disciplinary programming that celebrates the diversity of francophone cultures and creativity around the world. A welcoming and inclusive community for all ages and all backgrounds, L’Alliance New York is a place where people can meet, learn, and explore the richness of our heritages and share discoveries. L’Alliance New York strives to amplify voices and build bridges from the entire francophone world to New York and beyond.”
Crossing The Line is a citywide festival that engages international artists and New York City audiences in artistic discovery and critical dialogue to re-imagine the world around us. Crossing The Line is produced by L’Alliance New York in partnership with leading cultural institutions.
And Then We Were No More
How do you plead for justice in a world that no longer believes in mercy?
A searing and provocative world premiere by actor/writer Tim Blake Nelson, directed by Mark Wing-Davey.
In the not-too-distant future a lawyer is forced to represent a prisoner deemed ‘beyond rehabilitation’ and destined to perish in a newly developed machine designed to execute ‘without pain.’ The attorney must strive for justice in a system devoid of mercy.
The cast of And Then We Were No More features Elizabeth Marvel (Broadway: King Lear, Other Desert Cities; Long Day’s Journey Into Night; House Of Cards; Homeland), Scott Shepherd (Ulysses, Bridge of Spies), Jennifer Mogbock (Half God Of Rainfall; Merry Wives), Henry Stram (Titanic, The Elephant Man), Elizabeth Yeoman (Airtime; The Children’s Hour), William Appiah (Fences; Hamlet), E.J. An (A Dream of Red Pavilions; Clubhouse), Kasey Connolly (Four Women Entering Paradise; FBI), and Craig Wesley Divino (London Assurance; Round Table).
A searing and provocative world premiere by actor/writer Tim Blake Nelson, directed by Mark Wing-Davey.
In the not-too-distant future a lawyer is forced to represent a prisoner deemed ‘beyond rehabilitation’ and destined to perish in a newly developed machine designed to execute ‘without pain.’ The attorney must strive for justice in a system devoid of mercy.
The cast of And Then We Were No More features Elizabeth Marvel (Broadway: King Lear, Other Desert Cities; Long Day’s Journey Into Night; House Of Cards; Homeland), Scott Shepherd (Ulysses, Bridge of Spies), Jennifer Mogbock (Half God Of Rainfall; Merry Wives), Henry Stram (Titanic, The Elephant Man), Elizabeth Yeoman (Airtime; The Children’s Hour), William Appiah (Fences; Hamlet), E.J. An (A Dream of Red Pavilions; Clubhouse), Kasey Connolly (Four Women Entering Paradise; FBI), and Craig Wesley Divino (London Assurance; Round Table).
Weather Girl
Stacey is a California weather girl. An oversexed and underpaid harbinger of our dying planet. But today, her regular routine of wildfires, prosecco, and teeth whitening descends into a scorched earth catastrophe, before she discovers something that will save us all. A blistering dark comedy by Brian Watkins, starring Julia McDermott and directed by Tyne Rafaeli.
A new American play from the producers of Fleabag and Baby Reindeer, Weather Girl is a dizzying rampage into the soul of American strangeness.
A new American play from the producers of Fleabag and Baby Reindeer, Weather Girl is a dizzying rampage into the soul of American strangeness.
Prince Faggot
Let us tell you a fairy tale about a prince.
In this meta-theatrical tragicomedy, an ensemble of queer and trans performers cast themselves in a thought experiment, imagining the future heir to the British throne as having a life resembling their own. Reckoning with how the forces of power, privilege, and colonization play upon queer lives, Prince Faggot is a raw and radical take on a queer coming of age.
In this meta-theatrical tragicomedy, an ensemble of queer and trans performers cast themselves in a thought experiment, imagining the future heir to the British throne as having a life resembling their own. Reckoning with how the forces of power, privilege, and colonization play upon queer lives, Prince Faggot is a raw and radical take on a queer coming of age.
The Matriarchs
It’s Shabbas. And six squabbling teenage girls at a weekly Talmud lesson negotiate snacks, sex, their souls and everything in between.
Loosely based on the underwritten women of the Torah, THE MATRIARCHS by Liba Vaynberg charts the journey of six friends as they grow up and out of the orthodoxy. This is a play about girls, gods, mothers, and other creators: for anyone and everyone who doesn’t always know what to believe in.
Written by: Liba Vaynberg
Directed by: Dina Vovsi
Performed by: Rachel Botchan, Molly Carden, Helen Cespedes, Rebecca S’manga Frank, Arielle Goldman, Anna O’Donoghue, and Frankie Placidi.
Stage Managed by: Sara Minisquero
Produced by: Anna & Kitty Inc
Image by: Liana Finck
Loosely based on the underwritten women of the Torah, THE MATRIARCHS by Liba Vaynberg charts the journey of six friends as they grow up and out of the orthodoxy. This is a play about girls, gods, mothers, and other creators: for anyone and everyone who doesn’t always know what to believe in.
Written by: Liba Vaynberg
Directed by: Dina Vovsi
Performed by: Rachel Botchan, Molly Carden, Helen Cespedes, Rebecca S’manga Frank, Arielle Goldman, Anna O’Donoghue, and Frankie Placidi.
Stage Managed by: Sara Minisquero
Produced by: Anna & Kitty Inc
Image by: Liana Finck
Monkey Off My Back or The Cat's Meow
How can something arise from nothing? This question has occupied not only philosophy since its beginnings, but also the U.S. choreographer Trajal Harrell. In Monkey off My Back or the Cat’s Meow, he searches for forms that develop freely and without external influence.
The Wild Duck
Ibsen’s 1884 play The Wild Duck is an accessible, provocative, modern drama centered in a family.
Gregers Werle, the idealistic and dogmatic son of a wealthy businessman, wreaks havoc when he embarks on a crusade to unveil the false foundations of the life of his friend, Hjalmar Ekdal. Ignorant of the adults’ machinations, Hedvig, a young girl, tries to shield the fragile eponymous duck from the injuries of the world. Gregers’ imposition of “righteousness” however, leads to turmoil and death. Ibsen’s genius was to create complex characters who compel us with their humanity.
Director Simon Godwin observes, “Ibsen was consciously trying to redirect us from the easy classification of 'this is a comedy, this is a tragedy.' And he was following the steps of the late plays of Shakespeare in recognizing that we can move dexterously from something that makes us smile to something that makes us cry. The tragedy and the comedy are a 'mingled yarn' (to quote Shakespeare) of emotional possibility. We are drawn into a very compelling story and left to consider the role of truth in our own lives."
Simon Godwin (Chekhov’s Uncle Vanya starring Hugh Bonneville and Shakespeare’s Macbeth with Indira Varma and Ralph Fiennes), Artistic Director of Shakespeare Theatre Company, returns to TFANA (Measure for Measure and Timon of Athens) to direct this rarely produced Ibsen masterpiece.
David Eldridge’s version had its world premiere at London’s Donmar Warehouse in 2005. Michael Billington wrote “Eldridge brings out Ibsen’s permanent relevance without any textual coarsening…The Wild Duck explains why Ibsen is the greatest dramatist after Shakespeare” (The Guardian). This is the first major Off-Broadway production of the play in the Eldridge version.
Time and Place: 1880s, a city in Norway.
Gregers Werle, the idealistic and dogmatic son of a wealthy businessman, wreaks havoc when he embarks on a crusade to unveil the false foundations of the life of his friend, Hjalmar Ekdal. Ignorant of the adults’ machinations, Hedvig, a young girl, tries to shield the fragile eponymous duck from the injuries of the world. Gregers’ imposition of “righteousness” however, leads to turmoil and death. Ibsen’s genius was to create complex characters who compel us with their humanity.
Director Simon Godwin observes, “Ibsen was consciously trying to redirect us from the easy classification of 'this is a comedy, this is a tragedy.' And he was following the steps of the late plays of Shakespeare in recognizing that we can move dexterously from something that makes us smile to something that makes us cry. The tragedy and the comedy are a 'mingled yarn' (to quote Shakespeare) of emotional possibility. We are drawn into a very compelling story and left to consider the role of truth in our own lives."
Simon Godwin (Chekhov’s Uncle Vanya starring Hugh Bonneville and Shakespeare’s Macbeth with Indira Varma and Ralph Fiennes), Artistic Director of Shakespeare Theatre Company, returns to TFANA (Measure for Measure and Timon of Athens) to direct this rarely produced Ibsen masterpiece.
David Eldridge’s version had its world premiere at London’s Donmar Warehouse in 2005. Michael Billington wrote “Eldridge brings out Ibsen’s permanent relevance without any textual coarsening…The Wild Duck explains why Ibsen is the greatest dramatist after Shakespeare” (The Guardian). This is the first major Off-Broadway production of the play in the Eldridge version.
Time and Place: 1880s, a city in Norway.
Flexn, Paintn, Speakn
"Get-low, gliding, bone-breaking, connecting, pauzin, waving: Even the language of flexing, a street-dance style born in Jamaica and raised in the Brooklyn neighborhood of East New York, pops with energy." Quamaine Daniels and Reggie Gray's iconic FLEXX dancing will happen at Brooklyn Bridge Park where the collective will mesh movement, music, words while painting a canvas using dance shoes as urban street brushes. All while the sun sets. Followed by a battle and music by FLEXN DJ. Bring your dance shoes, food, drinks and a blanket.
Kaleider: Arch
Where concrete meets ice, visceral tension unfolds. Seth Honnor's visionary direction brings Kaleider's most ambitious work yet to breathtaking life.
Kaleider’s ARCH is an attempt to build a freestanding arch, made two-thirds of concrete and one-third of ice, witnessed by a vigilant choir of human voices. Touching audiences with themes of death, renewal, and hope, ARCH points towards the extraordinary, yet flawed, systems humans create: language, economies, architectures, democracies – and, inevitably, to the impact of these systems on our ecosystem and ourselves. Kaleider's ARCH event unfolds under the open skies, a thought-provoking performance accompanied by the watchful singers.
A languageless score by Verity Standen accompanies a relentlessly physical performance, at times meditative, at others arresting and highly charged.
Kaleider’s ARCH is an attempt to build a freestanding arch, made two-thirds of concrete and one-third of ice, witnessed by a vigilant choir of human voices. Touching audiences with themes of death, renewal, and hope, ARCH points towards the extraordinary, yet flawed, systems humans create: language, economies, architectures, democracies – and, inevitably, to the impact of these systems on our ecosystem and ourselves. Kaleider's ARCH event unfolds under the open skies, a thought-provoking performance accompanied by the watchful singers.
A languageless score by Verity Standen accompanies a relentlessly physical performance, at times meditative, at others arresting and highly charged.
Solidarność
New York theatre artists will ask random park visitors and DOWN TO EARTH audiences to sit in a circle to discuss what needs to be changed—and write down the demands of the people of New York on a large white notepad. The results will be forwarded to newspapers, as well as to local and national politicians.
In the 1980s, Solidarność (Solidarity) was a broad anti-authoritarian social movement in Poland, using methods of civil resistance to advance the causes of worker’s rights and social change. The Polish Government attempted in the early 1980s to destroy the union through the imposition of martial law in Poland and the use of political repression. On the first day of the strike dock workers in Gdansk sat in a circle at the shipyard and wrote the most urgent demands of the workers on a 4 x 8 plywood sheet. The sheet is now a centerpiece of the Solidarność museum Gdansk.
In the 1980s, Solidarność (Solidarity) was a broad anti-authoritarian social movement in Poland, using methods of civil resistance to advance the causes of worker’s rights and social change. The Polish Government attempted in the early 1980s to destroy the union through the imposition of martial law in Poland and the use of political repression. On the first day of the strike dock workers in Gdansk sat in a circle at the shipyard and wrote the most urgent demands of the workers on a 4 x 8 plywood sheet. The sheet is now a centerpiece of the Solidarność museum Gdansk.
In the Solitude of Cotton Fields
Once one of the most vital spaces for New York's LGBTQ community, the piers 42, 45, 46 and 51 served over decades as living quarters for queer homeless youth, a casual hangout and meeting spot for LGBTQ groups of friends. It was legendary hangout, a refuge, a locale for sex, a beach, a dance floor, an art gallery—a place of thrills, of danger, of comfort, of joy. One of the most important European playwrights of the 20th century, Bernard-Marie Koltès from Paris, was attracted and inspired. His most famous play, In the Solitude of Cotton Fields, actually takes place at the Christopher Street Piers. Bring a blanket, food and drinks and listen to actors Ismail ibn Conner and Tony Torn performing Koltès on the Piers while the sun sets over the Hudson.
In this celebrated masterpiece a Dealer stops a Client on the Piers, at the dark hour of twilight, peddling hidden merchandise which the Dealer keeps secret. The Client, in return, refuses to reveal why he has come here, at this hour, and what he truly desires from the Dealer. This encounter, at the brink of bursting into a street fight or turning into a flirt, transforms traditional dramatic dialogue into a succession of long poetic monologues, reaffirming language as the main medium of this dramatic form.
In this celebrated masterpiece a Dealer stops a Client on the Piers, at the dark hour of twilight, peddling hidden merchandise which the Dealer keeps secret. The Client, in return, refuses to reveal why he has come here, at this hour, and what he truly desires from the Dealer. This encounter, at the brink of bursting into a street fight or turning into a flirt, transforms traditional dramatic dialogue into a succession of long poetic monologues, reaffirming language as the main medium of this dramatic form.
Ancrage and Sencirk Duo
In ANCRAGE (anchoring), the indoor version, and DUO SENCIRK, the outdoor version, a man awakens and encounters an alien being. Performed by two acrobats, Modou Fata Touré and Ibrahima Camara, they measure, observe and confront each other, then mutually tame each other. When they find their anchorage, a world arises where nature and man merge, take root in each other, and harmony is created. Modou Fata Touré questions Europe and Africa: What if contemporary circus was not only European, and what if African circus was not exclusively traditional? Through ANCRAGE, Modou and Ibrahima reclaim the circus's African identity. The local materials of Senegal—bags of rice, traditional brooms, wooden ladders—join raw materials like earth, sand, aluminum, and straw. SenCirk's unique approach shares personal stories that West Africans—and others—can relate to, from clandestine migration to Europe to the experience of living as a talibé runaway.
Founded in 2009 by Modou Fata Touré, SenCirk is Senegal's first circus organization, encompassing a company, school, and performance tent. Touré, who as a teenager discovered circus arts at Sweden's Cirkus Cirkör, transformed himself from a child beggar to a leading figure in contemporary African circus. Rather than pursuing a career in Europe, he returned home to establish SenCirk, which uniquely blends traditional Senegalese culture with contemporary circus arts. The company employs a dozen professional artists from diverse backgrounds and provides free workshops at shelters for street children and women. SenCirk maintains its African identity by crafting equipment from local materials and training future circus professionals while supporting children in need throughout Dakar.
Founded in 2009 by Modou Fata Touré, SenCirk is Senegal's first circus organization, encompassing a company, school, and performance tent. Touré, who as a teenager discovered circus arts at Sweden's Cirkus Cirkör, transformed himself from a child beggar to a leading figure in contemporary African circus. Rather than pursuing a career in Europe, he returned home to establish SenCirk, which uniquely blends traditional Senegalese culture with contemporary circus arts. The company employs a dozen professional artists from diverse backgrounds and provides free workshops at shelters for street children and women. SenCirk maintains its African identity by crafting equipment from local materials and training future circus professionals while supporting children in need throughout Dakar.
Holes in the Shape of My Father
Holes in the Shape of My Father is a blues about boys becoming men. Written and performed by Savon Bartley, this solo show is told entirely in verse, where poetry, rhythm, and raw emotion collide. Developed at The Public Theater and featured at the Under the Radar Festival, this one-man play explores fatherhood, masculinity, and generational trauma with lyrical grace and unflinching vulnerability.
Basinga: Soka Tira Osoa
Tatiana-Mosio Bongonga is one of the world’s few female artists walking the high wire. Basinga's SOKA TIRA OSOA (literally "pulling the rope") takes its name from the traditional “tug of war,” a sport in which two teams pull on the opposite ends of a rope, each trying to drag the other team across a line drawn in the middle. But Basinga turns the experience into a collaboration between the artists and audience-participants. Tatiana-Mosio Bongonga performs her poetic, breathless, spectacular balancing act, accompanied by live musicians. "It takes many to be many." Tatiana-Mosio Bongonga will carry out her breathtaking crossing in the South Street Seaport’s historic waterfront district and at the Brooklyn Navy Yard, a feat of balance and imbalance, aided by her audience and the pop-up band’s auditory “ground track.”
Basinga’s artistic practices are inseparable from the artist’s social mandate: One of the world's rare women high-wire performers, Bongonga has been organizing collective adventure skywalk aerial performances without a harness for over a decade. Wherever Basinga performs, she enlists the help of up to sixty local volunteers to stabilize the complex structure supporting the tightrope and help create a ceremony grounded in circus arts that combines music, acrobatics, and mutual trust. Beyond the company’s performances, Basinga conducts cultural and artistic projects in various settings, from hospitals to prisons, offering workshops in tightrope walking, costume design, and photography to promote personal development.
Basinga’s artistic practices are inseparable from the artist’s social mandate: One of the world's rare women high-wire performers, Bongonga has been organizing collective adventure skywalk aerial performances without a harness for over a decade. Wherever Basinga performs, she enlists the help of up to sixty local volunteers to stabilize the complex structure supporting the tightrope and help create a ceremony grounded in circus arts that combines music, acrobatics, and mutual trust. Beyond the company’s performances, Basinga conducts cultural and artistic projects in various settings, from hospitals to prisons, offering workshops in tightrope walking, costume design, and photography to promote personal development.
Poetic Consultations
“Poetic Consultations” are individual conversations between artists and members of the public. Each consultation takes place around a table: it begins with a free conversation and ends with the artist reading or singing a poem or song specifically chosen for the participant. At the end of the consultation, the participant receives a personalized poem or song in the form of a “poetic prescription.” Consultations are free 20-minute experiences, individual meetings based on listening, on time given to the other, on a moment to share life, poetry, music and dance. Poetic Consultations is a new practice that rethinks the relationship between the public and the performer, imagined by Emmanuel Demarcy-Mota, Director of the Théâtre de la Ville in Paris, and playwright, poet, and novelist Fabrice Melquiot.
NYC-based actors, musicians and dancers. A simple idea unfurls into a soothing ritual: listeners book appointments and actors call to talk for 20 minutes before reciting a poem inspired by the conversation and, finally, suggesting a poetic remedy prescribed specially for each participant. An unexpected meeting, face to face, in the flesh, between an actor, a musician, or a dancer and a person around poetry. Like the Telephone Consultation, the Face-to-Face Consultation begins with an exchange to get to know each other, but this time the scene is set. A table and two chairs create intimacy. Equipped with a collection of over 100 poems, invented on the model of a medical dictionary, the actor chooses a poem from what has been said, the dancer a choreography, the musician a melody.
NYC-based actors, musicians and dancers. A simple idea unfurls into a soothing ritual: listeners book appointments and actors call to talk for 20 minutes before reciting a poem inspired by the conversation and, finally, suggesting a poetic remedy prescribed specially for each participant. An unexpected meeting, face to face, in the flesh, between an actor, a musician, or a dancer and a person around poetry. Like the Telephone Consultation, the Face-to-Face Consultation begins with an exchange to get to know each other, but this time the scene is set. A table and two chairs create intimacy. Equipped with a collection of over 100 poems, invented on the model of a medical dictionary, the actor chooses a poem from what has been said, the dancer a choreography, the musician a melody.
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