Can faith be questioned? Can memory be contradicted? Can fear be suppressed?

At the birth of any political or spiritual movement, a leader arises to guide, fuel and inspire its followers. But when this leader falls, it is the followers that are left with the shambles of thoughts, ideas, promises and hopes–they are left to question what has truly been left behind. At a pivotal time in our own country’s leadership, The Apostle Project explores these questions. It examines how fear, memory, hope and faith propel the choosing and following of a leader. Amidst an impactful visual landscape, athletic staging and live music, Mitu engenders an emotional narrative that brings voices and images of faith-followers from throughout history and holds them accountable for our own future.

An exploration of love, darkness and faith, the piece follows a devout believer as she confronts life as it has been, as it should be and as it never will be. The piece explores notions of will, choice and divine fate. Inspired by the writings of the 17th Century Mexican poet Sor Juana Inés de La Cruz, the letters of Mother Theresa of Calcutta and the stories of various saints, the piece incorporates pre-Gregorian chant forms, Balinese mask work, Japanese Noh chorus and elements of Japanese Butoh.

Theater Mitu presents a workshop of Sister Sarah, Brother Sky in association with New York University- Playwrights Horizons Theater School. Re-orchestrated  in collaboration with Theater Mitu member Todd Almond. The piece is an adaptation and re-investigation of the American Musical Guys and Dolls (by Frank Loesser), with additional text by Gertrude Stein and Jean Genet. This radical adaptation dissects American musical theater as a form, bringing the classic piece back to its dark prohibition era roots.

Theater Mitu presents a production of Blind Mouth Singing in collaboration with the National Asian American Theater Company. Written by Jorge Ignacio Cortiñas, this beautiful play tells the story of a boy whose dreams reside deep within a well; dreams that eventually manifest and overtake his life forcing him to confront truth, love and desire.

Theater Mitu presents a production in collaboration with Alaska’s Perseverance Theater of Raven Odyssey. Written by Ishmael Hope and PJ Paparelli. This piece, performed in collaboration with Alaska Native ritual musicians and dancers from the Haida, Tlingit, Yup’ik, Siberian Yup’ik, Athabascan, Aleut, and Alutiqq nations, seeks to celebrate differences between the Alaskan nations and draw a common through-line involving their traditional raven lore.

This piece explores the relevance and impact of the Japanese art form Butoh to the American gaze. Exploring both philosophy and form, the company inhabits this anti-traditional form in the most traditional of ways.

Inspired by Hindu, North African and Gypsy moon myths, Moonchild tells the story of a woman whose desire for love is so great, it summons the moon, awakens the oceans and changes the course of humanity forever. Soon she discovers the sacrifice made may be too much for her to bear. In a landscape of tricksters and superstition, of vows and prophecies, the voices of the past ask us to question our dreams–to ask ourselves how far would we go in search of true love.

Theater Mitu presents a radical adaptation of the American Musical HAIR (by Rado, Ragni and MacDermot) in collaboration with New York’s Skirball Center for the Performing Arts and NYU/Tisch. Re-orchestrated by Todd Almond, this production breathes new relevance to the iconic piece about identity and what it means to be revolutionary. This re-imagining manifests forty head-shaved characters with an idealistic dream of what life should be. Surrounded by an all white landscape and filled with electronica and computerized music, they in turn ask us to actively step out and dream and, furthermore, to make that dream real before time runs out.

Theater Mitu presents String of Fragmentation at the Patravadi Theater (Thailand). Written by Panisa Puvapiromquan/ Directed by Rubén Polendo. A collaboration with Thai performer Panisa, the piece explores a non-narrative look at the correlation between Theravada Buddhist philosophy and contemporary scientific thought.