Vanyamachine: Mallory Catlett’s “This Was The End”
An assemblage of intriguing aesthetic strategies, what Mallory Catlett’s This Was The End lacks in...
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Jessica Rizzo
Angels (And Demons) Of History In EgoPo’s “Lydie Breeze” Trilogy
Jessica Rizzo sees the 10-hour, marathon performance of EgoPo Theater’s Lydie Breeze trilogy...
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Don’t Shoot The Messenger: Elfriede Jelinek’s “Rechnitz” In New York
On March 24, 1945, there was a party in Rechnitz, an Austrian town on the Hungarian border. The...
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Bread of Life: Bread and Puppet Theater’s “The Basic Bye Bye Show”
As The Basic Byebye Show comes to an end, a pair of enormous papier mâché angel’s wings protruding...
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“The Actor’s Life for Me:” A Conversation With David Greenspan
David Greenspan keeps busy. Just two weeks after closing his monumental solo rendition of Eugene...
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Sadocapitalism From Berlin: Thomas Ostermeier’s “Returning To Reims”
Best known in the US for the stunning exemplars of the German Regietheater tradition he regularly...
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Movie Star-Crossed: Adrienne Kennedy’s “He Brought Her Heart Back in a Box”
The explosively feminine theater of Adrienne Kennedy breaks many of the fundamental “rules” of...
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Monster Mashup: Mabou Mines Takes On Tennessee Williams
The ghost of Mary Shelley keeps rudely interrupting Mabou Mines’s Glass Guignol: The Brother And...
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Room to Dream: The Théâtre du Soleil at the Park Avenue Armory
If theater could save the world, it would no doubt do so under the exacting direction of Arianne...
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A Living Mockery: The Ridiculous Theatrical Company At Fifty
In 1967, not one but two productions of Charles Ludlam’s deliciously demented Conquest Of The...
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David Greenspan Dazzles In One-Man “Strange Interlude”
After his one visit to the country in 1909, Sigmund Freud reportedly remarked to a friend that...
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Future Shock At The Philadelphia Fringe Festival
The Philadelphia Fringe Festival, now in its twenty-first year, has been gentrified. What began in...
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“Pity in History”: The Potomac Theatre Project Wrestles with Howard Barker
Near the end of the Potomac Theatre Project’s production of Pity in History, with England...
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The Holocaust, Sacrificed: Nicholas Tolkein’s “Terezin”
In taking it upon him or herself to depict the horrors of the Holocaust, the artist assumes an...
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Mourning in America: Target Margin Brings O’Neill’s Ghosts to Life
Though regarded by many as the father of American drama, Eugene O’Neill correctly diagnosed...
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Past Due: Sarah Benson Directs Richard Maxwell’s “Samara”
In the closing moments of Richard Maxwell’s Samara, the audience is plunged into near-total...
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Daughters of Misfortune: Guillermo Calderón’s “Villa”
Trauma affects everyone differently. Survivors may become fragile or embittered, depressed or...
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A Conversation With Anne Bogart: “I’m Absolutely Certain That Certainty Is Bad”
An originator of the Viewpoints system of training for actors and founder of SITI company,...
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Love Revolution: The Assembly’s “Home/Sick”
Commitment is hard. Even within the well-defined parameters of traditional monogamy, balancing the...
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Women on the Verge: Caryl Churchill’s “Escaped Alone”
In an 1896 essay on “The Tragic in Daily Life,” the Symbolist playwright Maurice Maeterlinck...
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