Rent Party Opens July 12th at The Tank

WRITTEN BY AMINA HENRY
DIRECTED BY GRETCHEN VAN LENTE 
 
WORLD PREMIERE
JULY 12-21 @ THE TANK
 
The Tank (Meghan Finn and Rosalind Grush, Artistic Directors) in association with Drama of Works will present the World Premiere of Rent Party by Amina Henry, directed by Gretchen Van Lente at The Tank (312 West 36th Street between 8th and 9th Avenues), July 12-21. Performances will be on Friday, July 12 at 7pm, Saturday, July 13 at 3pm, Saturday, July 13 at 7pm, Sunday, July 14 at 12pm, Sunday, July 14 at 3pm, Friday, July 19 at 7pm, Saturday, July 20 at 3pm, Saturday, July 20 at 7pm, Sunday, July 21 at 12pm, and Sunday, July 21 at 3pm. Tickets ($18 adults; $12 kids 18 and under) are available for advance purchase at www.thetanknyc.orgThe performance will run approximately 60 minutes, with no intermission.
 
In the early 1900s African-Americans began to migrate north in large numbers. Harlem was where their community was, so many moved there, despite the high rents. Rent parties became a popular way for families to raise the rent money they needed. They would hire a musician or band, get cheap refreshments and charge a small entry fee. 
 
An innovative toy theater fills the stage, a replica of a Harlem block from the 1920s. Lights flicker on as people awake. We see toy theater puppets, shadows come to life in windows, and at a certain point the whole set transforms. All the while actors frolic in 20s costumes, original saxophone music plays through the speakers and a cat does back alley beat poetry. We’re transported in time to an era poignant and pivotal to the African-American experience in this country and people of all ages should know these stories, hear these words and listen to this music. Come follow Rose, Jenny and Ricky as they help their mammas throw a RENT PARTY to save their home. All they need to do is get the ice, hand out some cards, oh – and get a real live musician to play. Shouldn’t be too hard…
 
The cast will include AnJu Hyppolite, Marlee Miller, Maya Posey, and Christian Roberson with Puppet and Set Design by Gretchen Van Lente, Costume Design by Taylor Harrison, Music Direction by Jessica Lurie, and Lighting Design by Jeannette Yew. 
 
RENT PARTY has been awarded the prestigious Henson Foundation family grant. The show is recommended for ages 10 and up. 
 
Amina Henry (Playwright) is a Brooklyn-based playwright. Productions include: Ducklings at JACK (Brooklyn, NY), The Animals at JACK, Happily Ever at Brooklyn College, Bully at Interrobang Theater (Baltimore, MD), An American Family Takes a Lover, produced by The Cell: a 21stCentury Salon and presented by Theatre for the New City (New York, NY), Water produced by Drama of Works (Brooklyn, NY), The Minstrel Show, produced as part of the 2013 Bring a Weasel and a Pint of Your Own Blood Festival. Her work has been developed by/presented at: The New Group, Clubbed Thumb, The Flea, National Black Theater, Little Theater at Dixon Place, The Brooklyn Generator, The Brick, Oregon Shakespeare Festival in the 2013 Black Swan Lab Series (Ashland, OR), Kitchen Dog Theater (Dallas, TX), The Brick, HERE Arts Center, The Cell: a 21st Century Salon, HERO Theatre, the Hive Theater, the Bowery Poetry Club and Brooklyn College. She was a 2012-2013 Core Apprentice playwright at The Playwrights Center and a 2013 Finalist for the Leah Ryan FEWW Playwriting Prize for her play Bully. She was a featured playwright at the 2013 Black and Latino Playwrights Conference at Texas State University. Publications include Hello, My Name Is Joe in the compilation 24 Gun Control Plays, published by No Passport Press. Amina Henry is a graduate of Yale University; NYU’s Performance Studies MA program and Brooklyn College’s MFA Playwriting program lead by head weasels Mac Wellman and Erin Courtney. She has been a member of Clubbed Thumb’s Early Career Writers Group, Page73’s writers group, and is a 2017-2018 member of the Ars Nova writers group. She is a 2017-2018 recipient of the Lower Manhattan Cultural Council Space Residency and is a 2018 recipient of a space residency at Dixon Place.
 
Gretchen Van Lente (Director) is the Artistic Director of Drama of Works, a freelance theater director and a full-time theater teacher. She has been working in the field of puppetry and visual theater since 1995. Since this time, outside of the over a dozen award-winning shows she has created with DOW, she has directed for Polaris North Theater, Bond Street Theater, Theater for the New City, {your name here} a Queer Theater Company, New Georges, JACK Brooklyn; and at Brooklyn College, where she directed Gruesome Playground InjuriesThe Ferris Wheel and The Fairy Garden, as well as puppetry direction for She Kills Monsters. As a designer she has worked with TheatreWorks USA, Mannes Opera, The Brick Theater, and many others. She received her BFA in illustration from Parsons School of Design, her BA in theatre from Eugene Lang College, an MFA in directing from Brooklyn College, and an MS in Education from Pace University. She is currently a full-time elementary theater teacher for district 75 in New York City.
 
Drama of Works (DOW) “New York’s tightly organized satirists” (In Pittsburgh), are known for their innovative works “high on fantastic production value” (Village Voice) that cross the line between actors and puppeteers. “Whatever it is supposed to be, it isn’t boring.” (Puppetmaster). Led by Artistic Director Gretchen Van Lente (former president of UNIMA-USA), they have performed around New York City, plus all over the East Coast and abroad since 1999 with their unique brand of theatre: gaining members, fans and supporters along the way. Drama of Works has performed abroad at ten international festivals to date, garnering awards and accolades: The International Festival of Children’s Theater in Subotica, Serbia; The FOOT Festival of Original Theatre in Toronto, Canada; The Cooking Fire Theatre Festival, also in Toronto; The Barents Region International Puppet Festival in Oulu, Finland (twice); The Istanbul International Puppet Festival; The World Festival of Puppet Art, Prague (twice); The Prague Fringe Festival; and the World Festival of Puppet Art, Jakarta, Indonesia. They are the recipients of eight Henson Foundation grants, two grants from the Rhode Island Foundation, a grant from the Fund for US Artists at International Festivals, an ART/NY Creative Space and Nancy Quinn Fund grant, a Chashama/NEA Performance Development Award and an Ensemble Studio Theatre/Sloan Project Commission. They have participated in various festivals and developmental labs, including HERE’s Dream Music Puppetry Program, the O’Neil Puppetry Conference, the Arts at St. Ann’s Puppet Lab, and many others. Drama of Works prides themselves on including members from a variety of backgrounds, including puppetry, experimental theatre, clowning, classical theatre, folk dance and comedy. They are proud members of Puppeteers of America, UNIMA-USA, Network of Ensemble Theaters and ART/NY. They create work for all ages, including pieces geared toward small children, family audiences and more text-heavy adult-centered pieces exploring deeper themes. They specialize in adapting already-told stories in new and invigorated ways. www.dramaofworks.com 
 
The Tank is a non-profit arts presenter and producer. Our mission is to remove economic barriers from the creation of new work for artists launching their careers and experimenting within their art form, and to do so in an environment that is inclusive and accessible. We serve over 2,000 artists every year in over 800 performances, and work across all disciplines, including theater, comedy, dance, film, music, puppetry, and storytelling. The heart of our services is providing free performance space in our two-stage theater complex Manhattan, and we also offer a suite of other services such as free rehearsal space, promotional support, artist fees, and much more. We support work at all phases of development, from readings and residencies to fully-produced world premieres. We keep ticket prices affordable and view our work as democratic, opening up both the creation and attendance of the arts to all.

Recent Tank-produced work includes Drama Desk-nominated productions Ada/Ava (2016), youarenowhere (2016), The Paper Hat Game (2017), the ephemera trilogy (2017), and The Hunger Artist (2018), as well as New York Times Critics’ Picks The Offending Gesture by Mac Wellman, directed by Meghan Finn (2016) and Red Emma & The Mad Monk by Alexis Roblan, directed by Katie Lindsay (2018). www.thetanknyc.org 

At Black Lake Opens 7/13 at The Tank

WRITTEN BY DEA LOHER 
TRANSLATED BY DANIEL BRUNET
DIRECTED BY BARBARA RUBIN 
 
UNITED STATES PREMIERE
OPENING JULY 14
JULY 7-25 @ THE TANK
 
*Necessary Digression will present the United States Premiere of Dea Loher’s At Black Lake translated by Daniel Brunet and directed by Barbara Rubin at The Tank (312 West 36th Street between 8th and 9th Avenues), July 7-25. Performances will be on Sunday, July 7 at 3pm, Saturday, July 13 at 3pm, Sunday, July 14 at 3pm, Saturday, July 20 at 3pm, Sunday, July 21 at 3pm, Tuesday, July  23 at 7pm, Wednesday, July 24 at 7pm, and Thursday, July 25 at 7pm. Tickets ($15) are available for advance purchase at www.thetanknyc.orgThe performance will run approximately 100 minutes, with no intermission.
 
It’s been four years since that night. Else and Johnny reunite with Cleo and Eddie at Black Lake. But when innocent assumptions become scalding questions, and every recollection a wounding taunt, that promises a hidden clue, they wrestle with just how little they know about their children. Acclaimed German playwright Dea Loher weaves an eerie tale of uncertainty and distortion through small gestures of everyday life, the cost of relationships and the variability of memory.
 
The cast will feature Heather Benton* (NYIT Best Production Award Winner Serenade and Philosopher Fox with East River Commedia), Christopher J. Cancel-Pomales (Daniel Irizarry’s The Maids and Madman and the Nunwith One-Eighth), Darrell Stokes* (Life is a Dream with Blessed Unrest), and April Sweeney* (This Place is a Desert in Under the Radar; Women Dreamt Horses at PS 122), with Lighting & Environment Design by Krista Smith (Good Person of Setzuan with Atlantic Theater Company; This American Wife at New York Theater Workshop Next Door) and Sound Design & Music by Cory Larson (Electric Ottoman; Silhouette of Noise). *Appearing courtesy of the Actors’ Equity Association.
 
Dea Loher (Playwright) is one of the most celebrated and performed playwrights in the German language. Her nearly 20 plays have been translated into 28 different languages and received more than 300 productions. She has received several awards for her writing including the Schiller Memorial Prize, Bertolt Brecht Literature Prize, Else Lasker Schüler Drama Prize and the Royal Court Theater Playwrights Theater Award. As of yet  Dea’s work has not received a U.S. professional production but a few plays have been produced by students in university theater programs (Swarthmore, Yale) and received several readings in New York (Goethe Institute and Origin Theater Company). In her plays, Loher deals repeatedly with questions of politics, history, feminism and social ills as well as with issues of personal happiness and private life. Without regressing to a naturalist aesthetics, Loher does not − unlike many postmodernist writers − abandon concepts such as plot, directed action or successful communication in her plays. Her work has consequently been claimed as part of the neo-dramatic theatre movement in the German-speaking countries, which distances itself from the positions of ‘post-dramatic theatre’ (Peter Weiss, Elfriede Jelinek, René Pollesch) and strives to reestablish a more coherent and semantically contained aesthetics of the theatre. Her eminently political, yet non-moralising dramatic work has been interpreted as a productive appropriation of the legacy of Bertolt Brecht (Birgit Haas).
 
Barbara Rubin (Director) For two decades Barbara has cultivated a career as an inventive director of contemporary and classical theatre in New York and abroad. She began her directing career at the Market Theatre in Johannesburg, South Africa in 1997. She made her Off-Broadway directorial debut at The Women’s Project in 2004, after relocating in 2000. She has worked on Broadway and Off, regionally and internationally, in Europe, and in her native South Africa. As a dialect coach for stage, film and TV, Barbara has worked with Daniel Radcliffe, Samira Wiley, Hilary Swank, Rosemary Harris, Jennifer Hudson and Terrence Howard. Known for her longtime collaboration with Athol Fugard, she coached all six productions in his Signature Theatre Residency, including, currently, Boesman and Lena. At the American Academy of Dramatic Arts, Barbara is  the co-director of the third year Company where she directs and mentors actors on the brink of launching their professional careers. 
 
Daniel Brunet (Translator) is a theater maker and translator, and is the producing artistic director of English Theatre Berlin. After studying theater and film at Boston College, he moved to Berlin with the support of a Fulbright Scholarship in 2001. He became the 2003 director in residence at English Theatre Berlin and founded THE LAB, a new work series. His directorial work has been seen throughout Germany and the United States, including the Forum Freies Theater Düsseldorf; the Haus der Kulturen der Welt, Berlin; and Performance Space 122 in New York. He has translated 18 German plays in the last nine years, including those of Roland Schimmelpfennig, Heiner Müller, Ferdinand Bruckner, and Moritz Rinke. These translations have been performed around the world. Brunet is also the translator of the 2006 remake of Michael Haneke’s film Funny Games. He received a 2010 Pen/Heim Translation Fund grant for his translation of Dea Loher’s The Last Fire. His translations and essays have been published in PEN AmericaThe MercurianAsymptoteTheater, and TheatreForum.
 
*Necessary Digression is an itinerant, international performance collective, a constellation of artists who cultivate and curate intentional & accidental performative experiences that invite audiences to wrestle with difficult and inspiring material. We mine the contradictions of human experience, chase and illuminate the elusive through physical expression and find new ways of reaching spectators through live theatre and performance in unexpected environments. The collective is committed to inclusivity, community and supportive strategies to encourage and develop artists and their work. www.necessarydigression.org 
 

OPEN by Crystal Skillman

THE TANK
IN ASSOCIATION WITH 
ALL FOR ONE THEATER
PRESENT
OPEN
 
Megan Hill as The Magician Photo credit: Maria Baranova
WRITTEN BY CRYSTAL SKILLMAN
DIRECTED BY JESSI D. HILL
FEATURING MEGAN HILL 
WORLD PREMIERE
PREVIEWS JUNE 8, 9 & 11
OPENING WEDNESDAY, JUNE 12
JUNE 7-22 @ THE TANK
The Tank (Meghan Finn and Rosalind Grush, Artistic Directors) in association with All For One Theater (Michael Wolk, Artistic Director; Nicholas A. Cotz, Executive & Producing Director) will present the World Premiere of Open, written by Crystal Skillman (Rain and Zoe Save the World, 2018 EMOS Award-Winner; King Kirby at The Brick; Geek with Vampire Cowboys) directed by Jessi D. Hill (Surely Goodness and Mercy with Keen Company; Interstate at NYMF), and featuring Megan Hill (Do You Feel Anger? at Vineyard Theater; Eddie and Dave at The Atlantic) at The Tank (312 West 36th Street between 8th and 9th Avenues), June 7-22. Performances will be on Friday, June 7 at 8pm, Saturday, June 8 at 8pm, Sunday, June 9 at 3pm, Tuesday, June 11 at 8pm, Wednesday, June 12 at 8pm, Thursday, June 13 at 8pm, Friday, June 14 at 8pm, Saturday, June 15 at 3pm & 8pm, Sunday, June 16 at 3pm, Tuesday, June 18 at 8pm, Wednesday, June 19 at 8pm, Thursday, June 20 at 8pm, Friday, June 21 at 4pm & 8pm, and Saturday, June 22 at 8pm. Tickets ($25) are available for advance purchase at www.thetanknyc.orgThe performance will run approximately 60 minutes, with no intermission.
Open is a magic show with no magic. A woman called The Magician seems to pantomime a myriad of tricks, but her act reveals she is attempting the impossible—to save the life of her lover, Jenny. And yet, is it possible that the more we believe in their love, the more The Magician’s illusions are actually becoming real? The clock is ticking, the show must go on, and as impossible as it may seem, this Magician’s magic act may be our last hope against a world filled with intolerance and hate. 
Crystal Skillman (Playwright) is an award-winning Brooklyn based playwright. Plays include GeekCutKing Kirby (New York Times Critics Pick), Rain and Zoe Save the World (2018 EMOS New Play Competition Winner), and Pulp Vérité (workshopped at the Playwrights Foundation; 2015 The Clifford Odets Ensemble Play Commission). Crystal is the book writer of Mary and Max, with composer/lyricist Bobby Cronin, which premiered at Theatre Calgary, directed by Stafford Arima. Postcard American Town was selected for a 2018 Rhinebeck Writers Retreat. Awards: 2018 MUT Award (Critics’ Prize), Clifford Odets Ensemble Play Commission, NY Innovative Theatre Award. Work in TV/Comics includes “Adventure Time” and Eat Fighter, published on Webtoon where new episodes premiere each Saturday. www.crystalskillman.com
Jessi D. Hill (Director) is a theatre director based in New York City. New York credits include new work at New York Theatre Workshop, The Public Theater/Joe’s Pub, The Playwrights’ Center, Primary Stages, Keen Company, Labyrinth, The Women’s Project, 59E59, P73, The New Group, Rattlestick, Ensemble Studio Theatre, terraNOVA Collective, Culture Project, Musical Theatre Factory, The Acting Company, The Barrow Group, New Dramatists, The Lark, The Playwrights Realm, New Georges, and many others. She has been a director and teacher in professional training programs at Yale School of Drama, Juilliard, Eugene O’Neill Theatre Center/NTI, Fordham University, Long Island University, Powerhouse/NY Stage & Film, NYU/Tisch, The Atlantic School, Playwrights Horizons Theatre School, Hunter College, American Academy of Dramatic Arts, and many others. Jessi is a recipient of the Denham Fellowship from the Stage Directors and Choreographers Foundation, an Alum of the Women’s Project Lab, and an Affiliated Artist at New Georges. She served as Associate Artistic Director of terraNOVA Collective from 2009-2015 where she co-created the Groundbreakers Playwrights Group and Groundworks new works program. She is currently the Artistic Associate at Flying Carpet Theatre Co and the Literary Team Director at Rattlestick Playwrights Theater. Her work has been seen internationally in Edinburgh, London, New Zealand, Berlin and Hamburg. MFA: Yale. Member SDC.
Megan Hill (The Magician) has originated roles in the world premieres of Do You Feel Anger? (The Vineyard and Humana Festival), Eddie and Dave (The Atlantic), Kentucky (P73/EST), Hand to God (EST), and Crystal Skillman’s Cut (The Management), to name a few. As an actor and writer, her play The Last Class: A Jazzercise Play (created with Amy Staats and Margot Bordelon) has enjoyed sold-out runs in New York, D.C., and Seattle. She has also worked with Bushwick Starr, Berkeley Rep’s Ground Floor, SPACE on Ryder Farm, NACL, Soho Rep Lab, Ars Nova’s ANT Fest, Playwrights Horizons, Primary Stages, The Lark, HERE, Morgan Gould & Friends, New Dramatists, NYTW, Clubbed Thumb, New Georges, Labyrinth Lab, Target Margin, Ma-Yi, Pittsburgh Public, Stein/Holum, Intiman, Seattle Children’s Theater/Speeltheatre Holland, Shanghai Dramatic Arts Center, and The Guggenheim, among others. BFA: Acting/Original Works, Cornish College of the Arts. MFA: ART/MXAT IATT at Harvard University.
All For One Theater (AFO) is dedicated to producing and developing extraordinary solo theater. AFO believes the solo show is more than a vehicle for personal narratives; it blurs the line between performance art and theater, and has the capacity to forge connections between artists and audiences more personal than those of traditional theatrical storytelling. Since 2011, AFO has presented acclaimed full-length solo plays Off and Off-Off Broadway, nurtured dozens of the brightest mid-career solo theater artists through the AFO Solo Collective, and initiated an Artist In Residence program to incubate one artist’s new work for up to 18 months of development. www.afo.nyc
The Tank is a non-profit arts presenter and producer. Our mission is to remove economic barriers from the creation of new work for artists launching their careers and experimenting within their art form, and to do so in an environment that is inclusive and accessible. We serve over 2,000 artists every year in over 800 performances, and work across all disciplines, including theater, comedy, dance, film, music, puppetry, and storytelling. The heart of our services is providing free performance space in our two-stage theater complex Manhattan, and we also offer a suite of other services such as free rehearsal space, promotional support, artist fees, and much more. We support work at all phases of development, from readings and residencies to fully-produced world premieres. We keep ticket prices affordable and view our work as democratic, opening up both the creation and attendance of the arts to all.

Recent Tank-produced work includes Drama Desk-nominated productions Ada/Ava (2016), youarenowhere (2016), The Paper Hat Game (2017), the ephemera trilogy (2017), and The Hunger Artist (2018), as well as New York Times Critics’ Picks The Offending Gesture by Mac Wellman, directed by Meghan Finn (2016) and Red Emma & The Mad Monk by Alexis Roblan, directed by Katie Lindsay (2018). www.thetanknyc.org  

The Tank Presents TANK-ARET

THE TANK
PRESENTS
TANK-ARET
 
Curators Brandon James Gwinn & EllaRose Chary
A MONTHLY CABARET SERIES
@ THE TANK 
The Tank (Meghan Finn and Rosalind Grush, Artistic Directors) will present Tank-aret, a monthly cabaret series curated by EllaRose Chary and Brandon James Gwinn at The Tank (312 West 36th Street between 8th and 9th Avenues). Performances are scheduled for Monday, February 25 (hosted by Drag King Sam Bam Thankyoumaam), Monday, March 4 (featuring BOOBS! The Musical with Erica Von Kleist), Monday, April 22 (featuring Izzy Castaldi), Monday, May 20 (featuring Anessa Marie), and Monday, June 24 (featuring Sabrina Chap). Tickets ($18 + 1 drink minimum) are available for advance purchase at www.thetanknyc.orgThe performance will run approximately 90 minutes, with no intermission.
Tank-aret is a monthly cabaret series now in its second year at The Tank. Curated by musical theater writing team EllaRose Chary and Brandon James Gwinn (Dramatists Guild Fellows; Ars Nova Uncharted Residents; Cotton Candy and Cocaine; TL;DR: Thelma Louise: Dyke Remix). Every month Tank-aret will feature an evening of exciting new work by artists not traditionally represented in cabaret and musical theater spaces. The intention is to lift up the voices of women, queer and trans artists, artists of color, differently abled artists, and anyone else who has some cabaret magic to make but is usually not given the space to take risks and bite off more than they can chew.
The Tank-aret Kick Off: A Taste of Something Different on Monday, February 25 is an annual event to kick off the calendar year Tank-aret season by featuring 8-10 artists in an evening. Audiences will get a taste of the various kinds of material Tank-aret has to offer. Many artists from the Kick-Off go on to have full Tank-aret shows later in the season or in subsequent seasons. Hosted by Tank-aret Alum Drag King Sam Bam Thankyoumaam (2018 Tank-aret’s Kings) this year’s Kick-Off features Lily Ali-Oshatz, Hannah Fairchild, Sandy Gooen, Cheeyang Ng, Capital B, Annalisa Dias, Ronee Penoi, and more!
The Tank is a non-profit arts presenter serving emerging artists engaged in the pursuit of new ideas and forms of expression. We serve over 2,000 artists every year in over 400 performances, and work across all disciplines, including theater, comedy, dance, film, music, public affairs, and storytelling. Our goal is to foster an environment of inclusiveness and remove the burden of cost from the creation of new work for artists launching their careers and experimenting within their art form. The heart of our services is providing free performance space in our 98-seat proscenium and 56-seat blackbox that we operate in Manhattan, and we also offer a suite of other services such as free rehearsal space, promotional support, artist fees, and much more. We keep ticket prices affordable and view our work as democratic, opening up both the creation and attendance of the arts to all.
Past Tank produced-work includes Drama Desk-nominated productions Ada/Ava (2016), youarenowhere (2016), The Paper Hat Game (2017), the ephemera trilogy (2017), and The Hunger Artist (2018), as well as New York Times Critics’ Pick’s The Offending Gesture by Mac Wellman, directed by Meghan Finn (2016) and Red Emma & The Mad Monk by Alexis Roblan, directed by Katie Lindsay (2018). Since its founding in 2003, artists who have come through The Tank include Alex Timbers, Amy Herzog, Lucy Alibar, Reggie Watts, Kyle Abraham, Andrew Bujalski, We Are Scientists, and tens of thousands of others. www.thetanknyc.org

THE TANK Announces Move TO New Venue and 2017/18 Season

 

Co-Artistic Directors Rosalind Grush and Meghan Finn at the 2017 Drama Desk Awards
The Tank (Meghan Finn and Rosalind Grush, Artistic Directors) is pleased to present their 2017/18 Season out of a new home at 312 West 36th Street which boasts two theater spaces, a 98 seat proscenium and 56 seat blackbox. Building upon The Tank’s 14-year legacy of providing a home for new work by emerging artists, The Tank is thrilled to bring their producing and presenting together under one roof.
Following the success of recent Tank productions (critically acclaimed and Drama Desk-Nominated works like ADA/AVA, YOUARENOWHERE, THE PAPER HAT GAME and THE EPHEMERA TRILOGY as well as the 2017 premiere of A HUNGER ARTIST) The Tank will bring its multi-disciplinary presented programming together with fully-produced new theatrical works to its new venue, at 312 West 36th Street. This marks a moment of major growth for The Tank, which will now be able to more than double its already prolific year-round programming and robust services for emerging artists in Manhattan.
The Tank is helmed by Co-Artistic Director Rosalind Grush, who has seen the company through the last four years of growth and successes. She is joined by newly-appointed Co-Artistic Director Meghan Finn (dir. DOOMOCRACY), who joined in April after co-producing ADA/AVA, YOUARENOWHERE, THE PAPER HAT GAME and Mac Wellman’s THE OFFENDING GESTURE (which she also directed), during her time as Associate Artistic Director of 3-Legged Dog.
“This is a truly transformative moment for The Tank,” says Co-Artistic Director Rosalind Grush. “We are one of the few arts organizations whose model is based on more. More artists bringing their ideas to the table makes for a better, deeper, more complex conversation. More shows means increased opportunities for innovation, for experimentation, for polished work pushing the boundaries of what you’d think is possible in a theater, for scrappy passionate work created in a week in response to what’s happening right now in our country. More means inclusiveness. More means that you’ll see work here that wouldn’t or couldn’t happen anywhere else. And even with more, even with having seen literally over 1,000 performances during my tenure here, I’m still constantly surprised, delighted, disturbed, and forever changed by the performances on our stages.”
“This move and the expansion of our programming and services that comes with it represents our commitment to more artists, more art, more ideas – each unique, each political, each the lifeblood of what makes New York City a global cultural center.” –Co-Artistic Director Meghan Finn
YŌKAI, Remedy for Despair 
Created by Award-winning Norwegian Company, The Krumple
United States Premiere, September 11-24 
In a desolate space stands a group of curious looking people. With miniature trees and paper seagulls in their pockets they begin to recreate the world as they see it. A premeditated car accident, a ravenous cod and a dreadful Christmas Eve are part of the chaos created by the Yōkai. Combining dance, magic, poetry and sheer stupidity, The Krumple tells a contemporary tale of our attempts to find hope in moments of despair.
Sam’s Tea Shack
Written by Ben Gassman, Directed by Meghan Finn
Featuring Sam Soghor with Design by Normandy Sherwood
New York Premiere, September 12-October 1 
Steeped in a reverence for the F train as the new Silk Road, SAM’S TEA SHACK is a part-Ashkenazi Jewish boy’s fantasy he is amongst is ancestors: central Asian nomads. In this malleable exchange between audience and Sam, he serves tea, talks about the neighborhood, Persian emperors, going to high school with Lin Manuel Miranda, dumplings and samosas, and whatever is on your mind–it’s a piece about cultural identity vs. national identity.  It’s a comedy.
Wood Calls Out to Wood
Written by Corinne Donly, Directed by Polly Noonan
World Premiere, November 2017 
An adaptation of Hieronymus Bosch’s 15th century triptych “The Garden of Earthly Delights,” Wood Calls Out to Wood is a painting translated into a play, a landscape turned into a soundscape. It is a precise and deeply silly experiment in the possibilities of combination–of single syllables combining to make words and single people combining to make couples. The audience first encounters the play as they would a picture hanging on a distant wall, in large swaths of color and pattern. When taking a closer look, however, strange Boschian beings begin to emerge: Two horses in a neigh-scent relationship, a vacant treehouse in need of a tenant, and a man with a grape for a head.
PILLOWTALK
Conceived & Created by Kyoung’s Pacific Beat
Presented as part of Exponential Festival
World Premiere, January 2018
PILLOWTALK is an intimate two-character drama centered around Sam and Buck, a newlywed interracial gay couple. Using inventive staging incorporating elements of ballet’s pas de deux, the play examines the evolving values of gay marriage and asks whether queer communities of color can truly celebrate marriage equality in times of #BlackLivesMatter?
[Flying] Dutchman: A Rite
Presented by Theatre of War
February 2018
Amiri Baraka’s 1964 text serves as foundation for a timely reconstruction examining eloquent blind fury, racial hysteria, sexual hysteria, and white obsession with silencing the black voice/body. (Flying) Dutchman is part ceremony, clown show, rite, and seance created to navigate the haunted, outer reaches of the human psyche. And to conjure up Baraka himself for marching orders, words of wisdom, our final wake up call. Join Theatre Of War as we wipe away the dust from this artifact of a play, hoping it will serve as talisman and compass in these abnormal times.
Leisure, Labor, Lust
Written by Sara Farrington, Directed by Marina McClure
New York Premiere, April 2018
A triptych presented as an evening-length work, LEISURE, LABOR, LUST is inspired by the worlds of Edith Wharton and Jacob Riis explores the class system, sexual politics, decadence, and treatment of mental illness in 1907 New York. When performed in succession, all three parts present a truly American story that transcends time, reminding us that classism, racism, and sexism have always been woven into the fabric of American life and evolve as we do.
SHEEP #1
Created by Nekaa Lab and Sachiyo Takahashi
New York Premiere, May 2018
Inspired by Saint-Exupéry’s writings, sheep #1 is a story of our protagonist – a tiny sheep – who starts its journey in search of the meaning of life. With ultimate simplicity and bold abstraction, this piece was conceived in 2006 as the first Microscopic Live Cinema-Theatre experience crafted by Sachiyo Takahashi. Performed in real-time, the storytelling magnifies miniature worlds, projected onto a large screen. A tabletop in front of the audience serves as a stage where Takahashi manipulates small characters and props. Through the use of manual visual effects accompanied by original soundtrack, the audience is invited to an intimate dream-like experience enhanced through the combination of cinematic presentation and live operation.
Manufacturing Mischief: The Adventures of Professor Chomsky VS. The Print-A-Friend Menace (Working Title)
Conceived by Pedro Reyes
Written by Paul Hufker, Directed by Meghan Finn
World Premiere, June 2018
The latest puppet endeavor from Mexico City-based visual artist, Pedro Reyes, the inaugural Dasha Zhukova Distinguished Visiting Artist at MIT Center for Art, Science & Technology where he has been developing the piece. Pedro has been working with puppets since 2008, using philosophers and revolutionaries from different periods in history as protagonists. While at MIT, Reyes met with Noam Chomsky and was granted his permission to do a puppet play using him as the main character. This piece will incorporate the Noam Chomsky puppet as well as 23 puppets from his past works. To create this work, Pedro will collaborate with the team from his recent celebrated production of DOOMOCRACY produced by CreativeTime, writer Paul Hufker, and director Meghan Finn.
The Tank is a non-profit arts presenter serving emerging artists engaged in the pursuit of new ideas and forms of expression. We serve over 1,000 artists every year in over 400 performances, and work across all disciplines, including theater, comedy, dance, film, music, public affairs, and storytelling. Our goal is to foster an environment of inclusiveness and remove the burden of cost from the creation of new work for artists launching their careers and experimenting within their art form. The heart of our services is providing free performance space in our 98 seat proscenium and 56 seat blackbox that we operate in Manhattan, and we also offer a suite of other services such as free rehearsal space, promotional support, artist fees, and much more. We keep ticket prices affordable and view our work as democratic, opening up both the creation and attendance of the arts to all. Since its founding in 2003, artists who have come through The Tank include Alex Timbers, Amy Herzog, Lucy Alibar, Mike Daisey, Reggie Watts, Kyle Abraham, Andrew Bujalski, We Are Scientists, and tens of thousands of others.  www.thetanknyc.org
Rosalind Grush (Co-Artistic Director) has been leading The Tank for nearly four years. During her tenure, she has overseen more than 1,000 multi-disciplinary performances of new work by emerging artists. In addition to spearheading countless programming initiatives, she produced four Drama Desk nominated shows in the Unique Theatrical Experience category, and four New York Times Critics’ Picks. She has also worked in various administrative capacities with Obie Award-winning theater company The Civilians, Playwrights Realm, Ars Nova, and more. She has been a script-reader for SPACE on Ryder Farm, Playwrights Realm, and The Relentless Theater Award. She has been on grant panels for the Department of Cultural Affairs of the City of New York, Brooklyn Arts Council, and A.R.T./NY’s Nancy Quinn Fund. She has been a guest speaker for classes at the Columbia Graduate School of the Arts, the Columbia University Internship Experience, Bard College, Baruch College, and others. She has written several scripts that have been read or produced at The Tank. She is a graduate of Columbia University and grew up in Los Angeles.
Meghan Finn (Co-Artistic Director) is a director based in Brooklyn, NY who took over as Co-Artistic Director of The Tank in April of 2017. Prior to that she was the Associate Artistic Director of 3LD where she co-presented The Tank’s celebrated 2015/16 Season. She recently she directed DOOMOCRACY by artist Pedro Reyes for Creative Time at the Brooklyn Army Terminal. Other recent credits include: CHARLESES by Carl Holder (The Tank at The Brick for Save & Print), Sam’s Tea Shack by Ben Gassman and Sam Soghor (The Tank at STK), The Offending Gesture by Mac Wellman (The Tank/3LD at The Connelly); American Power performed by photographer Mitch Epstein and Composer/Cellist Erik Friedlander at the V&A London and The Wexner Center, Columbus, Ohio; Gary Winter’s DAREDEVIL at The Brick; The Downtown Loop by Ben Gassman (3LD/3D+ Productions/Teeth of Tooth Atelier); Take Me Home by Alexandra Collier set in a taxi cab (Incubator Arts Project/LPR), The Service Road by Erin Courtney, Motel Cherry by Peggy Stafford (Summerworks Clubbed Thumb/New Georges HERE ) and 3 2’s; or AFAR by Mac Wellman (Dixon Place). BA USC, MFA Brooklyn College.