In the century and change since Henrik Ibsen's A Doll's House premiered, the play's feminist denunciation of male-dominated domesticity has gone from radical to rather quaint. But leave it to pioneering avant-garde theater company Mabou Mines to blow the dust of the classic with their ingeniously staged production, in which all male characters are played by actors whose heights range from 40 to 53 inches, and the women by actors almost six feet tall. more ›

If you're going through the hassle of living in overpriced New York City and not bothering to check out Richard Foreman's annual phantasmagoria, you're really missing out. Stepping into the little theater at St. Mark's Church every February is like taking a mental vacation to another dimension. And this year's Gothic baroque extravaganza is more dynamic than the past few years, in which Foreman experimented with film and a more subdued stagecraft. For now at least, he's dropped the film and picked up avant-garde composer John Zorn, who's composed a feral, heavy metal score for the show, with occasional bursts of Tasmanian Devil vocalization. more ›

Just like today's gang of socially conservative zealots, late 19th century temperance crusader Carrie A. Nation had an unshakable conviction that she was on a mission from God to purge America of vice. She'd no doubt be appalled to know that her life's work has been appropriated by the outre transgressors in Radiohole—Brooklyn's fearlessly debauched four-person theater collective—for use in their latest provocation, which also takes visual inspiration from avant garde filmmaker Kenneth Anger, whose oeuvre includes such titles as Lucifer Rising. more ›

It’s almost that time of year when the NYC Fringe Festival dominates the theater scene with hundreds of new shows of wildly varying quality. But before the Fringe sucks the air out of the room in August, it’s worth noting that July is packed with a number of smaller, more manageable and generally more-reliable theater festivals. For starters: more ›