Since 1979, Imago has been creating transformative theater that crosses boundaries traditionally associated with language, age and the physical realm. None other than the New York Times said of their work: "Theater like this opens the eyes to the possibilities of exploration in the vast realm of imagination." The company's trademark style - which combines masks, dance and slapstick with witty social commentary on the human condition - is the direct result of over thirty years of study, development, and practice. Not easily pigeon-holed, Imago has repeatedly proven unique in its ability to create both popular family-oriented fare as highly regarded as its critically acclaimed (and ambitious) productions for adults.

Imago has toured globally for over three decades, with numerous multi-national visits to Asia and Europe. Two of the company's most lauded production, FROGZ and ZooZoo, have played at New York's esteemed New Victory Theatre while another, No Exit, was revived at Harvard's American Repertory Theatre and the Hartford Stage Company. 

Working out of a large 18,000 square foot theatre laboratory in Portland, Oregon, under the artistic direction of Carol Triffle and Jerry Mouawad, Imago's ensemble of actors, dancers, designers, fabricators and musicians become alchemists seeking fresh perspectives of performance.  The company has been honored for mask theatre pieces which have appealed to a wide age range, and for innovative works that push the boundaries of form, design and story.  

With its ongoing mission to create theater that transcends language, age, and gravity (and other laws of the real world), Imago has repeatedly entertained multicultural, multigenerational audiences with its inventively mind-bending productions. While the company's approach has long been grounded in the rigorously physical techniques of the late Jacques Lecoq - an influential theater theoretician for whom Imago co-founder Carol Triffle served as assistant --- Imago has developed a distinctly theatrical approach all its own, one that's equal parts dance, design, circus, music, text, and illusion. Jerry Mouawad's neo-vaudevillian treatment of Sartre's existentialist masterpiece No Exit was hailed for its "skin-tingling tension" (Boston Globe) while Triffle's The Dinner was cited as "the most original and inspired theater you'll see" (The Oregonian).