Nina Gaidarova

a fictional autobiography in which a day from the artist’s life—filtered, edited, mediated, and performed by another actor—becomes the “ghost” of the person, a doubled identity that can never fully capture its subject. The work also conjures the spectral presence of a long-gone New York City, an uncanny body-double on the verge of austerity and collapse.

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A psychotic saxophone player lures victims to deserted spots with his music and then guns them down.

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A woman, Nadja, searches for her sister's murderer. This search goes through differing moments of reality, or unreality, that overlap within facets of a broken-up time sense. In this emulation of film noir, the investigative structure does not create suspense; the dialectic murderer/victim does not exist. The crime is fabricated bit by bit, like the staging of a spectacle, and it is in the traditional tools of seduction (the spiked heels) that the weapons will be hidden. Ultimately, the crime Nadja achieves makes her neither a triumphant heroine nor a victim.

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Harvard graduate James Averill serves as the sheriff of prosperous Jackson County, Wyoming, standing at the center of a conflict between impoverished immigrants and affluent cattle farmers. Politically connected ranchers enlist mercenary Nathan Champion—who is also vying for the affections of local madam Ella Watson—to combat the immigrant uprising. As tensions escalate, both Averill and Champion start to question their decisions.

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About the members of a New York City gym obsessed about their life situations, eventually leading up to the gay and straight characters writhing together in an orgy. An updated version of the original off-Broadway play.

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