Current Projects
Anthony Clarvoe's
The Brothers Karamazov
New American Ensemble at Stag & Lion
Dramaturg
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NAE presents The Brothers Karamazov, a high-stakes spiritual thriller that explores the limits of faith, family ties, and personal freedom. Set in 1860's Russia, a reunion in a rural village finds three long-estranged brothers contending with the timeless questions of identity, morality, and existence. Their journey to understanding is derailed by a shocking murder, threatening to leave fruitless their shared quest for redemption. In its New York City premier, Anthony Clarvoe's adaptation of the Dostoevsky classic invites audiences to consider the perennial nature of life's single greatest question: "Who am I?”
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April 23 to May 11, 2025
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Recent Projects
Metamorphoses (or A Few Ways of Keeping Your Child from Running Around At His Great Uncle’s Funeral)
Krymov Lab NYC/LaMaMa
Dramaturg
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This world in itself is not reasonable, that is all that can be said. But what is absurd is the confrontation of this irrational and the wild longing for clarity whose call echoes in the human heart.
— Albert Camus in The Myth of Sisyphus
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It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly … The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd does not provoke tears of despair but the laughter of liberation.
— Martin Esslin’s introduction to Ionesco’s Absurd Drama
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There are certain characters you just don't hit with a pie.
— Buster Keaton
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Digital Program​​​​
The Marriage
LaMaMa ETC, Polish Tour
Dramaturg
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“Whenever I see some mystique, be it virtue or family, faith or fatherland there I must commit some indecent act.” said Gombrowicz. Indecent acts at this point of unlimited time and space - in dreamland – reveal themselves with upside-down flags, Hoots fingers and Hooters Girls, a bloody insurrection and a declaration! How language brings things into being, how utterance makes ideas material, and who has the power to dictate reality and truth. Distorted! Destroyed! Dislocated! A nightmare! Inflated! Revolt in a scale!
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September 26 to October 6, 2024
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Grow Your Vision
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Argia Coppola's
Cursed: A New Jazz Play
Dramaturg
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Cursed is a new solo performance based on Joyce Carol Oates 2001 novel Blonde, adapted for actress and singer Annie Hägg. In Cursed, Annie portrays the triptych of the icon Marilyn Monroe, her alter ego Norma Jeane Baker and her mother Gladys. The story also explores her absent father, and many other male and female characters in Monroe's life through music and text. It’s a unique, fast-paced piece that depicts the life of the Blond Actress as never seen before. This adaptation is bold, breathless, tragic, and timely. It’s a play for an actress and a four-man jazz band, in which music becomes a character in and of itself.
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We ran at HERE Arts as part of their Sublet Series Co-Op from August 15 to 18, 2024.
Limonov: The Ballad
Cannes 2024
Assistant to the Writer/Technical Advisor for 70s NYC
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A revolutionary militant, a thug, an underground writer, a butler to a millionaire in Manhattan. But also a switchblade waving poet, a lover of beautiful women, a warmonger, a political agitator and a novelist who wrote of his own greatness. Eduard Limonov’s life story is a journey through Russia, America and Europe during the second half of the 20th century. Based on the novel Limonov by Emmanuel Carrère.
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"Limonov doesn’t alternate between attractive and repulsive but straddles an uneasy erogenous zone in the middle. Hilarious, terrifying, absurd, pathetic, and impetuous... " --Little White Lies
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Eugene Onegin: In Our Own Words
Krymov Lab NYC/LaMaMa, Under the Radar Festival
Dramaturg and Translator
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Every Russian grows up knowing Eugene Onegin, Aleksandr Pushkin’s landmark novel-in-verse. The work and its poetic images form part of the national consciousness. For In Our Own Words’ first staging in Moscow, Krymov created a children’s play in which four non-Russians explain their deep love of Pushkin to a room full of children. Now, in the face of the war in Ukraine, the way the world looks at Russian literature and art has changed.
In Krymov Lab NYC’s production, four immigrant Russians desperately try to communicate the value of an untranslatable classic to us, a New York audience. Why should we care about a story about a shallow Byronic hero, a deep teenage girl, and a less-than-successful birthday party? And is there still a place in today’s world for Dostoevsky, for Tchaikovsky, or even for Pushkin?
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Photo by Steve Pisano
Three Love Stories Near the Railroad
Krymov Lab NYC/LaMaMa
Dramaturg
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What is a love story? Most people think of love stories as romance, but there are many kinds of love: romantic, parental, or humanistic; love of beauty, of the land, of God; love for theatre, and love for hard work. There is love that is being born, love that goes sour, and love that dies away. These kinds of love stories are the result of the inevitable collisions between people with different wants and needs.
Three Love Stories Near the Railroad emerged from three classic American tales. In Ernest Hemingway's "Hills Like White Elephants," a couple grapple with the consequences of an unexpected pregnancy. In "Canary for One," three families hurtle towards uncertain futures and a parent's love turns destructive. In Desire Under the Elms, Eugene O'Neill's Americanized Hippolytus, a father, stepmother, and son struggle to find understanding and home in a land as hard and unforgiving as they themselves are. While the originals are known for their terseness and psychological realism, Krymov Lab NYC explores what lies beneath the words.
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Photo by Steve Pisano