Working outside the established "classical" and "musical theater" venues, a number of exciting artists are pushing the boundaries of new music theater, incorporating everything from film and video to puppets and punk bands. The composers/dramatists who launched this movement -- Robert Ashley, Meridith Monk, Lee Breuer, Ann Greene, Leroy Jenkins, Thulani Davis -- are joined by younger artists who are taking up the call to produce progressive music theater: John Moran/Ridge Theater, Ruth Margraff, Yasunao Tone, Mikel Rouse, and others. Their radical libretti/scores -- rarely published as texts per se themselves -- are, in fact, remarkable blueprints which provide a glimpse into the very process of performance development. Production stills, stage directions, musical notations, composition notes, and artworks, give imaginative readers a chance to recreate for themselves their own variations of these, multimedia events.
Bradford Morrow has lived for the past thirty years in New York City and rural upstate New York, though he grew up in Colorado and lived and worked in a variety of places in between. While in his mid-teens, he traveled through rural Honduras as a member of the Amigos de las Americas program, serving as a medical volunteer in the summer of 1967. The following year he was awarded an American Field Service scholarship to finish his last year of high school as a foreign exchange student at a Liceo Scientifico in Cuneo, Italy. In 1973, he took time off from studying at the University of Colorado to live in Paris for a year. After doing graduate work on a Danforth Fellowship at Yale University, he moved to Santa Barbara, California, to work as a rare book dealer. In 1981 he relocated to New York City to the literary journal Conjunctions, which he founded with the poet Kenneth Rexroth, and to write novels. He and his two cats divide their time between NYC and upstate New York.