AND . . . 2026

Director Tony Torn continues his exploration of “poets theater” with poet Vincent Katz’s mash-up of Hippolyta, Queen of the Amazons with Racine’s Hipollytus, forbidden crush of stepmother Phaedre. “One velvet morning when I’m straight.”

Rux Redux gathers four singular works—The Baptism (directed by Carrie Mae Weems), The Footsteps (produced by the Onassis Foundation), The Grand Inquisitor (directed by Tony Torn), and The Flitter (directed by Graham Parker)—into a single evening that reveals a remarkable constellation of recurring concerns across distinct artistic vocabularies. Each film features Carl Hancock Rux, whose presence functions las a shifting philosophical instrument through which questions of memory, ritual, surveillance, exile, prophecy, and the unstable architecture of identity are explored; Rux also authored the text for The Baptism, further extending his voice throughout the cycle. Collectively, these films refuse linear narrative in favor of associative image, and speculative inquiry, positioning the body as both archive and threshold, where history is neither recovered nor resolved but continually rewritten through performance.

Andromache at the Edge of the World is a response to Trump's Zero Tolerance policy, separating immigrant children from their parents, weaponizing child separation. Part 1 of this triptych, is a power battle; a story about the experience of women and children under patriarchal rule, and the struggle for agency and humanity.

PERCUSSION PEACE is a solo work utilizing a colorful spectrum of selected percussion instruments to explore freedom of expression through structured improvisation. Taking its title from my 2005 solo recording, this performance will be presented as a vehicle to radiate peaceful vibrations to our planet.

ARESPHERE × BODYSONNET: Filling the Shell – Install #3 is a work-in-progress performance exploring fragmented memory, inherited emotion, and embodied history through choreography, responsive technology, sound, and visuals. In this third installment, performers, systems, and environments shape one another, inviting audiences into an evolving ecosystem of dance, interaction design, and immersive media.

Join Lacy Rose and the Starlings for a musical seance featuring surrealistic, genre-defying original art songs that explore time, metamorphosis, the Divine Feminine, and the cycle of birth-death-rebirth.

Featuring string quartet, bass, and piano.
Directed by Dara Malina.

Leave It Where It Falls is a movement- and language-driven piece that zeroes in on one person’s porous reality and snoops around—body on alert, time doing its number, wisdom and cluelessness happy companions. We remember and forget and remember to forget. Existence scrawls a gangly prose poem.

A man in black tie, whose identity as a dictator in exile, or an estranged father giving hard earned advice, recounts anecdotes on global devastation, human cruelty, and the beauty and redemption of nature. Text by Charles Mee Jr., performance by Will Bond and video by Marianne Kim

Every morning at the Prospect Park station, a woman waits — and starts talking to strangers. As memory and time slip, fragments of motherhood, marriage, illness, and desire surface, shaped by gaman, the Japanese art of endurance. My Body Says No is an intimate, dreamlike solo performance with multimedia design.

This performance depicts the life of a West African slave who endures the plantation system, escapes, then lives the rest of his life as an escaped “Maroon”. His contemporary "alter ego" experiences a parallel experience in New York City, overcoming a version of the mass incarceration / prison-industrial complex system.

Attention passengers traveling to Moscow: Please proceed to your departure gate.

Set in an airport terminal, this new adaptation of Chekhov's Three Sisters follows three women carrying histories of displacement from Vietnam, India, Peru, and more. Blending Chekhov's text with poetry and firsthand accounts, this reimagining explores longing, hope, and the enduring search for home.

Boarding will begin shortly.

Exploring and experiencing colorism through the lens of a young black girl during the post civil rights era in Detroit.

Anonymous Ensemble collaborates with Quechua poet Irma Alvarez Ccoscco to create an interactive performance about an Andean condor and an urban parrot in Quechua, Spanish, and English– a parable about immigration that invites audiences of all ages to engage with themes of migration, healing, cultural continuity, and joy.

Home After Silence is an immersive film installation that weaves moving images, original music, and memory into a meditation on place, absence, and transformation. Inspired by my hometown, once known as a "ghost city," the work explores what remains after people leave and what continues to live within landscapes shaped by time. Through cinematic imagery and an evolving soundscape, the installation invites audiences to wander through fragments of memory, reflecting on home, belonging, loss, and the quiet resilience of places that refuse to disappear.

A professional cassette tape DJ tries to prepare for his next gig by listening through tapes from his past. It does NOT go as planned. The tapes are labeled in increasingly obscure and mysterious ways, and are from increasingly painful parts of his past. Slowly he begins to realize that his equipment has become sentient and has its own ideas of what happens next. The tools of his trade aggressively asserts its own plans for their future, and passes inescapable judgment.

Bottom Edge Air is a fever dream with no frontier. It foregrounds Musk’s personal Tesla and “Starman”, a mannequin astronaut, who in 2017 were launched towards Mars. Trailing this duet is the entrance of Luigi Mangione, Baby, Military Man #2, and an innocuous black case later revealed alongside a bedpan.

A new solo show by Gardiner Comfort, AND WE DIDN'T SPEAK is a hectic collage of monologues and musings on "Zombieland", the notorious, drug infested area in east Harlem. A meditation on urban life, addiction, conflict, and the privileged few who can choose to steer clear. Directed by Alfredo Narciso.

Yoshiko Chuma was shaped by her childhood in Japan in the 1960s. She participated in demonstrations and protests as a young adult during the Vietnam War and characterizes herself as a 'silent agitator'. This work that she describes as the "Snowball" series is a project addressing the pre-defined cultural imperatives that shape individual identity and codes of conduct. It relies on a fundamental structure that serves as a metaphor for the relationship between culture and the individual. With each performance, new elements or dancers are added, allowing the work to gradually accumulate a multicultural cast and aesthetic. In another one of her "choreographed chaos" performances, the stimulating experience of the "Testimony of the School of Hard Knocks" always arrives as a sudden encounter. It involves a paradoxical form that sparks inspiration, and the concept of "π = 3.14,"