Invulnerable Nothings’ multimedia exploration of The Broken Heart (1633) considers the surveillance state at peace, embracing the masqued delirium of John Ford’s Sparta. The production is particularly concerned with Ford’s poetic voice, that ‘distinct personal rhythm in blank verse which could be no one's but his alone’ (T.S. Eliot), and its relationship to the technologized violence of the play. Reimagined court dance, corporeal feminist theory, and found footage merge in this structurally modern Caroline tragedy, which culminates in the darkest coronation in all of English literature.

The Broken Heart recently received a generous development lab through the various support of Spaceworks, The Indie Theatre Fund, and Theatre Mitu in May/June 2019 as well as a series of lab showings at MITU580, Gowanus’ newest interdisciplinary arts space.

"Ford was of the first order of poets. He sought for sublimity, not by parcels in metaphors or visible images, but directly where she has her full residence in the heart of man; in the actions and sufferings of the greatest minds."

-Charles Lamb, Specimens of English Dramatic Poets Who Lived About the Time of Shakespeare (1808)

All images this page Joan Pope.

All images this page Joan Pope.


The Broken Heart in lab featured Katherine Hipkiss as Grausis/ Chorus, Kristin Winters* as Penthea, Lauren Guglielmello as Calantha, Sarah Quigley* as Euphranea, Vincent Santvoord as Orgilus, Paul Battiato* as Crotolon, Jake Roberston* as Bassanes/Amyclas, Matthew E. Brown as Ithocles, Dale White* as Prophilus, and Jakob Minevich as Nearchus (*appearing courtesy of AEA).

The lab was directed/facilitated by C.C. Kellogg, with dramaturgy by Katherine Hipkiss, movement by Mackian Bauman, sound + graphic design by Joan Pope/ TempleOvSaturn, and original costumes by Beau Watson. Stage managed by Amanda Rich with technical support from Melissa Ingle.