In the program notes for Art of Memory, Tanya Calamoneri's macabre dance-theater piece about bookish isolation, gifted designer Sean Breault describes his set as a blend of his "fascination with Theodore Kaczynski [the Unabomber] and his 'living quarters,' The Deep South, Reclusive Troglodytes, Swamps, Mystics, Open Heart Surgeries, Beautiful Minds, One's Descent Into Madness, Possessions, Spirits and Kittens that some people put into bags and toss over the bridge's edge." Though no cats are killed nor hearts dissected during the hour long performance, Breault's description aptly conveys Art of Memory's atmosphere: sometimes sullen, sometimes febrile, always strange. more ›

There's always been a theatrical element to commuter air travel: flight attendants are actors pretending everything's simply delightful, passengers comprise a captive audience asked to suspend their disbelief in the airline industry, the pilot is the unseen director struggling to keep the evening aloft. Of course, one weak link in that analogy—as the passengers on flight 1549 were recently reminded—is that when the curtain rises on a flight, one hopes the show will be utterly devoid of drama. So it's a good thing that Wickets, a play performed for an audience seated inside a replica Boeing 747 cabin, gives its passengers exactly what they don't want at 35,000 feet: a little thrill, and something to think about. more ›

Hollywood, 1940. As Hitler devours Europe and America inches toward war, a remarkable technology that could prove invaluable to the U.S. Navy is invented by… a sexy movie star and an avant garde composer? Though it sounds more than a little far-fetched, it’s actually a true story, and the subject of Elyse Singer’s multimedia play Frequency Hopping. more ›