Rhiannon Ling

assistant editor

r.ling@thetheatretimes.com

Rhiannon Ling is a recent student of Molloy College/CAP21 Conservatory, graduating Magna Cum Laude with a BFA in Theatre Arts and a minor in Writing in May of 2021. A writer, dramaturg, and performer, her interests and passions lie in creating, reimagining, and supporting works that elevate silenced voices and challenge society’s conventional view of history. In particular, she works in the realms of gender and sexuality, rape culture, and mental illness, exploring and provoking questions regarding their entwining with the arts, politics, history, and identity.

“The Blue Piano/The Blue Guitar”: Review

Posted by Beverley Brommert | 23rd Nov 2021 | Covid-19, Immersive Theatre, Review, South Africa

THE BLUE PIANO/THE BLUE GUITAR. Director: Fred Abrahamse. Cast: Matthew Baldwin, Zoë McLaughlin...

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“Lockup/Lockdown” with PDU: Review

Posted by Karen Rutter | 11th Nov 2021 | Covid-19, Review, South Africa, Theatre and Politics

I’ve totally enjoyed the many faces of Pieter-Dirk Uys over the years – from his most famous...

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Fake News and Propaganda Machines: New Theatre Production Pulls “Animal Farm” into the Now

Posted by Helen Trenos | 20th Oct 2021 | Adaptation, Australia, Review, Theatre and Politics

In 1937, George Orwell witnessed a boy whipping a horse. This was a catalyst for his novel Animal...

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Friday Essay: A World of Pain – Australian Theatre in Crisis

Posted by Gillian Arrighi and Clare Irvine | 18th Oct 2021 | Australia, Covid-19, Theatre and Politics

Australia’s performing arts sector has long been recognized as an ecosystem. It is a community of...

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Cry Havoc Theater Company Lets Slip the Dogs of War

Posted by Rhiannon Ling | 19th Aug 2021 | Devised Theatre, Interview, Theatre and Politics, United States of America

In the midst of the vibrant Dallas theatre scene, there lies a company of prize-winning political...

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On the Basis of Sustainability: Artemisia Theatre’s “Goods”

Posted by Rhiannon Ling | 16th Jun 2021 | Chicago, Review, Theatre and Film, United States of America

“I meant to do something about it, but I didn’t.” So goes the refrain when we, as flawed human...

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Women in the Lead: Julie Proudfoot on Artemisia Theatre’s 2021 Digital Season

Posted by Rhiannon Ling | 7th Mar 2021 | Chicago, Interview, Theatre and Gender, Transmedia, United States of America, Worldwide

As a female-identifying artist deeply invested in women’s stories (and as a staunch feminist),...

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Amir Nizar Zuabi’s “This Is Who I Am:” A Reminder of Family, Humanity, and the Power of Theatre

Posted by Rhiannon Ling | 2nd Jan 2021 | Covid-19, Review, United States of America

The issue with Zoom theatre is that, oftentimes, the two do not comply: theatrical performance is...

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“Keely and Du” at The Seeing Place

Posted by Rhiannon Ling | 15th Nov 2020 | Covid-19, New York, Review, Theatre and Politics, United States of America

Keely and Du, Jane Martin’s seminal work from 1993, is a piece often touted for its emotional...

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Accessibility in the Time of Corona: An Overview

Posted by Rhiannon Ling | 21st Oct 2020 | Essay, Theatre and Disability, Theatre and Politics, United States of America

There’s no denying that COVID-19 has been a financial and connectivity nightmare for artists....

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“Call From”: A Web Series with Hilarity and Heart

Posted by Rhiannon Ling | 21st Sep 2020 | Adaptation, Covid-19, United States of America

Zoom plays can feel a little dry. I’m sure, after months of this quarantine, we’ve all had the...

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“Different Stars:” A Song Cycle in Digital Form

Posted by Rhiannon Ling | 6th Sep 2020 | Covid-19, LGBTQ Theatre, New York, Review, Transmedia, United States of America

Beginning with the erecting of a green screen and ending with its dismantling, Different Stars: A...

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“The Atlantis Project:” Creator Chris Harris on the Intersection of Culture and Climate Change in His New Audio Series for Young Audiences

Posted by Rhiannon Ling | 30th Aug 2020 | Interview, Norway, Theatre for Young Audiences, Transcultural Collaborations, United Kingdom

It’s no secret that climate change is a universal topic, a subject that has only just begun to...

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“corkscrew 4.0:” Eight Plays, Eight Reimaginings, One Early 2000s Website

Posted by Rhiannon Ling | 21st Aug 2020 | New York, Review, Transmedia, United States of America

With the coronavirus pandemic still running rampant and limiting in-person gatherings, theatre...

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Michelle Memran on Maria Irene Fornes and “The Rest I Make Up”

Posted by Rhiannon Ling | 6th Jun 2020 | Interview, Theatre and Film, United States of America

Michelle Memran is the documentarian behind The Rest I Make Up (2018), a touchingly candid...

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BLIXT Locally Grown on Community-Driven Theatre During COVID-19

Posted by Rhiannon Ling | 18th May 2020 | Covid-19, Interview, Theatre for Young Audiences, United States of America

BLIXT Locally Grown was born on “a car ride between Scottsbluff and Lincoln,” Becky Boesen...

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