TINATC’s first production, Pool Play (2014, restructured and restaged in 2017 as Pool Play 2.0) took place in an actual swimming pool, which became a lens to examine the history of race, gender, and class segregation in the United States, and a venue for discussing climate change and pollution. By virtue of having become “members” of the pool when they arrived, and by sitting on the edge of the pool with their feet in the subject matter of the piece (water/pool), audiences were implicated in these histories and issues.
A Serious Banquet (2014), invited participants to create songs, poems, paintings, and dances during a cubist dinner based on the party Pablo Picasso threw for Henri Rousseau in 1908 Paris.
In Readymade Cabaret (2015), a Dada-inspired cabaret celebrating the beauty of chance encounters, participants determined the scenes performed (and the order in which they were performed) by rolling a pair of dice, creating their own narratives, and confronting their need for control in a random world.
Versailles 2015, an immersive cocktail party focused on income inequality and privilege, was set in an actual New York City apartment. “Partygoers” drank wine and ate hors d’oeuvres as they moved throughout the apartment, taking in scenes and site-specific dances addressing wealth and gentrification. Partygoers were invited to eat cake in the kitchen during a monologue about Versailles -- an obvious reference to Marie Antoinette that invited them to examine their own privilege. Versailles was remounted in 2016 by En Garde Arts in the home of Anne Hamburger, and again in the home of Kathleen Chalfant.
Café Play (2017 and 2018), set in a historic café in the West Village of Manhattan, explored the ways we treat each other on a daily basis, highlighting consumer entitlement and micro aggressions. Participants were – literally and figuratively -- customers at the café, and were invited to question their behavior towards each other, the waitstaff, and even a local cockroach.
Theatre In The Dark: Carpe Diem (2019 and ongoing) is a multi-sensory memento mori that takes place entirely in the dark. Partakers smell, taste, and touch their way through this nourishing ode to the present moment. Among the scenes is a Dance of Chocolate that audiences choreograph in their own mouths with their tongue (substitutes are available for those who cannot consume chocolate).
Play! (2019 and ongoing) is an interactive dance-theatre homage to the importance of radical play for a healthy society. What do mass murderers have in common? They are play-deprived. What happens to lab rats when you deprive them of play? They die. The opposite of play is not work, it’s depression. This piece culminates in the audience playing with each other (dancing to music, throwing beach balls, blowing bubbles, and engaging in other forms of play).
TINATC has created three podplays -- which are an emerging genre of theatre that take advantage of mobile technology to create site-specific audio-based theatrical experiences. TINATC’s podplays include Ferry Play, Subway Plays, and Festival of Life (created for the Place de l’Horloge in Avignon and meant to be experienced as part of Avignon Le Off). In Ferry Play, which was featured in the 2015 and 2018 New York International Fringe Festivals, audiences ride the Staten Island Ferry with nothing more than a set of headphones and an app. As the ferry sets sail, audiences put their earbuds in place and listen to a recorded production – but one in which every live sight, sound, smell, is part of the experience, leaving audiences to consider their role in the live performance event that is the Big Apple. Audiences mix what they hear on the fixed recording with the ever- changing scenery and characters around them – meaning they create the production. This idea is expanded in Subway Plays (also featured in the 2018 New York Fringe Festival) which invites audiences to contemplate the beautiful diversity of New York as they ride the L, N, and 7 trains. Subway Plays are in English with Spanish (Colombian), Arabic, Hindi, Mandarin, Russian, Greek, Hungarian, and French, further emphasizing the cultures a single underground tunnel can unify. Our podplays can be done at any time of year, any day of the week, any time of day. They are flexible and self-scheduled. In other words: they offer theatrical experiences for those who do not feel comfortable in, or cannot afford to go to, traditional theatre spaces.
In addition to performances, we offer workshops in Interactive Acting, Scent Design, Rasaboxes, Site-Specific Dance, and Making Theatre In The Dark to share our tools and techniques with others. Finally, we write open-source publicly available articles about the challenges of creating site-based and interactive work, the aesthetic theory of rasa that underpins our work, and ways of creating “emotive narratives.” We do this to expand our audience’s understanding of our work, and to share our knowledge and perspectives.