SOLD OUT
Catch the final shows in Brooklyn from Jan 10th to 28th during the Under the Radar Festival at BRIC!
Presented in partnership with Under the Radar; Mark Russell, Festival Director & ArKtype, Festival Producer.
“There is nothing else like this on New York stages” — The New York Times.
We are deeply grateful to everyone who has made our first season possible, and we hope that others will help us produce our next season!
“Some of the most imaginative, aesthetically liberated, and gloriously, thoughtfully messy theater in the world”
— Vulture
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KRYMOV LAB NYC
An international collective of actors, designers, musicians, puppeteers, and producers, Krymov Lab NYC is a new American company led by Dmitry Krymov. We create dynamic, heartfelt, visually stunning theater that breaks traditional theatrical boundaries with every surprising turn. We are proud to be a Resident Company of the legendary La MaMa ETC, and we are thrilled to share our inimitable style with NYC audiences.
DMITRY KRYMOV
A world-renowned director, playwright, and designer, Krymov has already made an indelible mark on the theatrical landscape. Now living in political exile for his opposition to the invasion of Ukraine, Krymov brings his singular approach to NYC and the creation of new American works. His unmistakable style—"Theatre of the Artist"—weaves together classic texts, visual design, personal histories, inventive stagecraft, and music into living tapestries of wonder, tears, joy, and laughter.
Pushkin "Eugene Onegin"
in our own words
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?