For years, Foreman has been staging his plays at St. Mark's Ontological Theater with the regularity of the great Avant-Pop-in-the-Sky's postmodernist pacemaker, tooling his "reverberation machines" into a pristine state of subversive whimsy. Though the reader of this text will miss the virtuoso performances of Tony Torn and Jay Smith as bathetic superheroes dueling over the fallen Iron Curtain in the play's New York run, the paranoiac frenzy and epistemological funboxes of Foreman's high style are alive and flinching in Now That Communism is Dead.