Theatre is about sex. At least according to Richard Foreman, the father of the Ontological Hysterical Theatre. The Ontological Cowboy documents Foreman’s invocation of the ‘manifest destiny’ of avant-garde theatre, King Cowboy Rufus strolling down San Juan Hill with a sigh, waving his handkerchief. Foreman plays himself and the cast pantomimes his preoccupations. If the cast and crew suffer alike, it is all for a good cause: the violent rebirth of American theatre, with Foreman as its midwife.
