WICKETS is Fefu and Her Friends at 30,000 feet.

Set inside an airplane, the entire theater becomes the stage for this celestial rock opera where the audience is surrounded by high-flying action that takes place all around them--in the aisles, galleys and lavatories of a trans-Atlantic flight.

Immersed in a mystery, eight 1970’s stewardesses find themselves split between the private self and the public persona in this radical adaptation of Maria Irene Fornes’ Fefu and Her Friends.

Manned by this dedicated crew of stews, Wicket Air Flight 1971 takes off just prior to the crest of the 2nd Wave of feminism. The Original Eight valiantly go where no man had gone before—to the struggle of women in the workplace. On board, these stews look for mysterious signs of life and offer oxygen to a present-day feminism desperately in need of life support.


As a young woman in Paris during the 1920's Lucia Joyce danced, painted illuminated letters for her father's books, and fell in love with Samuel Beckett and Alexander Calder. By 1932, however, Lucia's behavior had become strange and erratic. She eventually found herself in a mental hospital where she would live for the next forty-seven years. James Joyce suffered great and prolonged anxiety over his daughter and tried every possible means to find a cure for her before his death. He believed she was the natural inheritor of his genius. Those who knew him well have said that the great tragedy of James Joyce’s later life was the mental illness of his beloved daughter Lucia.

As a theatrical ode, CARA LUCIA navigates Lucia's final journey through her imagined afterlife facing her tumultuous past and her legacy as a literary reflection in her father’s final work "Finnegans Wake."


Red Beads is a gothic, coming-of-age fairy-tale/opera, choreographed aerially. Lee Breuer’s performance poem, drawn from an original story by Polina Klimovitskaya, explores the eerie family dynamic of a daughters’ transition into womanhood and the gift, from mother to daughter, of the red beads, a metaphor for the passage of power and sexuality. Using only wind, Basil Twist transforms swaths of fabric into luminous, quivering, ephemeral sets and puppets- Along the way, challenging our perception of space and proportion. Ushio Torikai’s haunting, dissonant score swells and ebbs, driving the story while evoking the psychological tension one equates with Hitchcock.


Choreography by Clove Galilee; Videography by Jenny Rogers.

James Joyce's "The Dead", commissioned by New York Theater Ballet, NYC.


Choreography by Clove Galillee; Set Design and Sand Painting by Jenny Rogers.

The play, CHOEPHORAE, a modern production of Aeschylus’ The Libation Bearers, (“Choephorae” in ancient Greek), features an all female cast, playing male & female roles throughout the play, in an international collaboration between a U.S and Greek company, which opened the Patras Festival in Patras, Greece, the Cultural Capital of Europe for 2006.

In CHOEPHORAE, the funeral act of pouring libations, historically enacted by slaves, or holferes, (which literally means slave or earth in Ancient Greek) forced into ritual mourning for their master, is recast as a ritual act of art making. Completed in real time, the pouring of libation, here the pouring of sand, culminates in the creation of a portrait of Agamemnon, a vision called forth in order to raise the spirit of the dead King.