Taylor L. Ciambra

author

Taylor L. Ciambra (they/them) is a nonbinary theatre artist, educator, writer, and poet. Currently, they reside in Portland, Oregon where they encourage middle schoolers to project, have fun, and be their best selves on and off stage.

“Macbeth” at Oregon Shakespeare Festival

Posted by Taylor L. Ciambra | 21st Aug 2019 | Review, United States of America

“They [the Macbeths] have many attributes that we all share in contemporary society, including...

Read More

“As You Like It”at The Oregon Shakespeare Festival

Posted by Taylor L. Ciambra | 11th Jun 2019 | Review, Theatre and Gender, United States of America

To take the title of dramaturg Amrita Ramanan’s program note, As You Like It is “a comedy that...

Read More

“Hairspray” at The Oregon Shakespeare Festival

Posted by Taylor L. Ciambra | 10th Jun 2019 | Musical Theatre, Review, United States of America

John Waters called Hairspray “the only radical movie I ever made” (from Dawn Monique Williams’s...

Read More

Molly Lowe And Bertolt Brecht: Making The Familiar Strange

Posted by Taylor L. Ciambra | 19th Jan 2019 | Essay, New York, Theatre and Gender, Transmedia, United States of America

Blurring the lines between the grotesque and the beautiful, the cerebral and the corporeal,...

Read More

Perspectives In Prison Theatre: Interview With Bruce Levitt And Lorraine Moller

Posted by Taylor L. Ciambra | 19th Oct 2018 | Acting, Devised Theatre, Interview, United States of America

“…Hamlet gives them cultural capital. It gives them ownership of something unique, not just...

Read More

Can You Hear Me Now? Dramaturgy: Speaking With Many Voices

Posted by Taylor L. Ciambra | 16th Feb 2018 | Dramaturgy, Interview, United States of America

When describing the role of a dramaturg Dr. Philippa Kelly says this: “I see a dramaturg’s shadow...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Advertisement

Most Popular Posts

Re-imagining the City through Performance:… by David O'Donnell 21st March 2024
“Habitat” by Doris Uhlich: Performing a… by Marilena Borriello 6th August 2023
“I Killed My Mother/It Wasn’t My Fault.”… by Teodora Medeleanu 25th March 2024
Sweeney Todd: Not a Demon, But a Barber of Fleet Street by Lisa Monde 24th September 2023
Stage to Screen: Támara Torres on “Orange Is The New… by Alexander Fatouros 21st March 2024
Musical “Evita”: 45 Years Later by Lisa Monde 22nd February 2024
Design Writing: Five Views of Sarah Ruhl’s… by Michael Schweikardt, Connor Diaz, Tristan Fabiunke, Jessa Laboissonniere, Bre Lawscha, Benjamin Zingos 24th January 2024
Drag Queens in Musical Theatre by Lisa Monde 8th May 2023
“The Bald Soprano,” French Absurd… by Antonio Hernández Nieto 18th March 2024
Wicked the Musical Celebrates Its 20th Anniversary… by Lisa Monde 9th November 2023

Recent Posts

Anything Can Be Bought If The Price Is Right: Juan Mayorga’s “La Colección” (The Collection) 12th April 2024
Staging Justice: Miguel del Arco revisits Jordi Casanovas’ “Jauría” and the case of “la manada” (the wolfpack) 9th April 2024
Towards New Theatre in Europe: What Roles Can Multilingual Dramaturgies Play in Europe’s Future(s)? 8th April 2024
Milan’s FOG Festival 7th April 2024
Between The REMBELIO OF POPOLARI (“Omilies”, Carnevals, Anonymous Poets) And No Stable Funding 4th April 2024
The Silent Service of Women: Cayenne Douglass’s “Maiden Voyage” at The Flea 2nd April 2024
“Teeth” Bites Back Against Purity Culture: On Michael R. Jackson and Anna K. Jacob’s Musical 31st March 2024
“I Killed My Mother/It Wasn’t My Fault.” Which Way Does One Get to Come-of-Age? 25th March 2024
A Triple Bill on Desire and its Discontents: “La Voix Humaine”, “Erwartung” and Something in Between at Madrid’s Teatro Real 25th March 2024
Alfredo Sanzol Stages Lorca’s “The House of Bernarda Alba”: Simmering Passions, Solitude and Surveillance 25th March 2024

SEARCH OUR ARCHIVES

Pin It on Pinterest