The Tank Announces New Season, New Home
The larger venue will allow the nonprofit arts company to more than double its programming.
The Tank has announced not only its 2017-18 season, but also its new home at 312 West 36th St., in a two-theater space — with a 98-seat proscenium and a 56-seat blackbox — that is larger than its previous single-theater 62-seat blackbox digs at 151 West 46th St.
The season will begin with the U.S. premiere of YŌKAI, Remedy for Despair, created by the Norwegian theater company the Krumple. It will run September 11-24. Simultaneously, Sam's Tea Shack, written by Ben Gassman and directed by the Tank's coartistic director Meghan Finn, will be presented in its New York premiere September 12-October 1. The production will star Sam Soghor and feature design by Normandy Sherwood.
In November, Corinne Donly's Wood Calls Out to Wood will be presented in a world premiere production directed by Polly Noonan. Another world premiere will follow in January 2018: Pillowtalk, conceived and created by the Brooklyn-based theater company Kyoung's Pacific Beat and presented as part of the Exponential Festival.
February 2018 brings Theatre of War's [Flying] Dutchman: A Rite, which, according to a press release, uses Amiri Baraka's 1964 play Dutchman as "foundation for a timely reconstruction examining eloquent blind fury, racial hysteria, sexual hysteria, and white obsession with silencing the black voice/body."
In April 2018, Sara Farrington's Leisure, Labor, Lust — a triptych said to be "inspired by the worlds of Edith Wharton and Jacob Riis" — will makes its New York premiere in a production directed by Marina McClure. Another show will be making its New York premiere in May 2018: Sheep #1, created by Nekaa Lab and Sachiyo Takahashi, and inspired by the writings of Antoine de Saint-Exupéry.
The season will culminate with the world premiere in June 2018 of a puppet show with the working title Manufacturing Mischief: The Adventures of Professor Chomsky vs. The Print-A-Friend Menace. The show is conceived by Mexico City-based visual artist Pedro Reyes, written by Paul Hufker and directed by Meghan Finn.