The Beauty of Cultural Specificity in “Bubble Schmeisis”
The room is thick with steam (ok, it’s smoke machine smoke), an accordion and clarinet cycle...
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Morgan Skolnik
The Rebellious Power of “Liberation” at Roundabout Theatre Company
Much like the women it centers on, Roundabout Theatre Company’s Liberation is rebellious and not...
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Show/Boat: A River Slashes Open an Old Classic
“The singing is nice, but the staging is atrocious.” So remarked the couple sitting behind me at...
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The Horror of Mundanity in NYTW’s A Knock On the Roof
Any frequent theater-goer is likely familiar with the “two block rule”, a piece of etiquette that...
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From Lawyer to Lyricist/Librettist: An Artist Profile of Jill Ohayon
Jill Ohayon grew up believing there were only two respectable career paths: doctor or lawyer. And...
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Disability, Kink, and Joy as Resistance in The Dan Daw Show
The Dan Daw Show’s long list of potentially triggering content includes depictions of kink...
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Sitting Down with Theater Artist Kate Rankine
Lyricist/Librettist Kate Rankine has a list saved on her phone of “golden moments”, or “little...
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The Revolutionary Spirit is Alive in “We Live in Cairo”
Though many people rushed to them post election, the musical of our political moment is not...
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The Many Monsters of Ars Nova’s “The Beastiary”
Created by On the Rocks Theatre Co. (the two person co-writer and designer team Christopher Ford...
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“Kafkaesque!” A Musical That Is As Hilarious As It Is, Well, Kafkaesque
Emily Bronte doesn’t have an acronym but Franz Kafka does and Kafkaesque! Directed by Ashley...
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Trans Joy in The Christine Jorgensen Show
The Christine Jorgensen Show isn’t perfect, but it’s just so delightfully charming it’s hard...
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Deep Thoughts on Deep History at The Public Theater
Inside the Public Theater it’s 2019 and Australia is on fire. Outside the theater it’s 2024 and...
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The Perils of Parody in Forbidden Broadway: Merrily We Stole A Song
All around me people are laughing uproariously, slapping their knees, bursting into applause mid...
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“Cats”: The Jellicle Ball is near Purrfect
Alright, I’ll level with you. Maligned as it is (and oh is it ever) Andrew Lloyd Webber’s 1982...
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“Teeth” Bites Back Against Purity Culture: On Michael R. Jackson and Anna K. Jacob’s Musical
Last year I went to the dentist for a toothache and was told that somehow, to my extreme...
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Disability Representation and the Rise and Fall of How to Dance in Ohio
On Monday How to Dance in Ohio, one of the most hyped shows of the 2023 Broadway fall season,...
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NYC Artists Stand in Solidarity with The Freedom Theatre
On January 13th, hundreds of artists and cultural workers marched through New York City’s theater...
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Once Upon a Warning for Next Time
“We’re not here to make fairytales, we’re here to follow them,” quips the narrator (Adam Godley)...
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Beauty and Wisdom for Who: Disability in Simon McBurney’s “Die Zauberflöte”
The first notes of Simon McBurney’s production of Mozart’s Die Zauberflöte (The Magic Flute) which...
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Sitting Down with Emerging Artist Thalia Ranjbar
The work of Thalia Ranjbar may be challenging– pushing beyond norms and expectations, but at its...
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