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Over the past ten years, the various members of this artistic troupe have produced half a dozen original theatrical experiments, each one more audacious and entertaining than the next. With rave reviews from numerous sources, including The Sacramento Bee, The Sacramento News and Review and Mom Guess What, this uncategorizable artistic mélange never ceases to break boundaries and surprise its audiences with cutting edge music, lyrical poetry, and gut-busting wit. Past offerings have included a descent into the mind of artist Francis Bacon, an unraveling of the clandestine Frida Kahlo/Leon Trotsky affair, and a musical autopsy dissecting the goings-on at a science fiction convention.

In Miss Fortune and the Carnival of Fools, The Collective combined several musical styles (rock, cabaret, Terry Riley-ish minimalism, jazz and klezmer), a centuries old musical theatre genre (opera) and a mid 20th century surrealist art performance experiment (the Fluxus movement) into a completely original experience incorporating grotesquerie, beautiful arias and a giant dancing puppet.

Their most recent (and most ambitious) production, The Cobra and the Hare, is a musical fable of greed and guile, ambition and revenge, mayhem and merriment set in a dreamscape farmland populated by dharma bums, avaricious ghouls, a sassy cow and a bipolar zombie; a place where the only thing that stands between salvation and destruction is the Ha Ha (a ditch separating pastures).

The Cobra and the Hare originally debuted in workshop as part of the River Stage’s Playwright’s Festival of New Works under the direction of Frank Condon. It was extensively reworked for its premiere performance at The Ooley Theatre where it was very well received by theatre-goers and critics alike.

The Cobra and the Hare is a story told in movement and music, poetry and vision. It is a further refinement of Pink Toupee Collective's Fluxist (surrealist, absurdist) approach to musical/theatrical performance art.

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