Mission + History

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The Deconstructive Theatre Project is a ten-year-old Brooklyn-based not-for-profit ensemble creative laboratory that exists to devise and premiere new multidisciplinary work. The company is currently creating a series of projects at the intersection of live performance, neuroscience, and interactive technology.


The Deconstructive Theatre Project was founded in February 2006 by Adam J. Thompson and a collaborative of fellow undergraduate students from Emerson College in Boston, Massachusetts. In 2008, the organization permanently relocated its base of operations to New York City. The company, which is comprised of more than 20 individuals from a broad spectrum of creative backgrounds, creates and executes programming in three symbiotic categories: hybrid media performance development and production, integrated theatre in education, and interactive community engagement.

The Deconstructive Theatre Project’s inaugural performance project was Moisés Kaufman’s Gross Indecency: The Three Trials of Oscar Wilde (2006). Over nine subsequent years the company has devised and premiered Brecht & Co. (2007), The Girlie Show (2007), a site-specific adaptation of Michel Marc Bouchard’s Lilies, or The Revival of a Romantic Drama (2009), an original two-actor contemporary circus adaptation of Antigone (2011), The Orpheus Variations (2012 world premiere, 2013 and 2015 remounts), Searching for Sebald (2015), and is currently creating Venice Double Feature.

The Deconstructive Theatre Project is a member of the HERE Artist Residency Program and The Public Theater’s Devised Theatre Working Group and has received local and international development and performance residencies from The Stuart Street Playhouse, Chez Bushwick, The Center for Performance Research, Middle Collegiate Church, The School of Making Thinking, Kunsthof Tangendorf, IRT Theater, the Magic Futurebox, Edge Arts, HERE, FiveMyles, The Public Theater/Under the Radar Festival, Theater at the 14th Street Y, and Gowanus Art + Production and has performed in Boston, New York City, and the Catskills.

The press has identified the company for “masterfully reinvent[ing] what live theater can mean for the individual, while illuminating the utter complexity and subjectivity of our own consciousness,” (ArtLab) and has called the company’s work “so purposeful and…not only unique, but also innovatively reflective on the future of the performing arts” (Letters from the Mezzanine.)