“We Always Depend On Other People”–Dramaturg Stefan Bläske On His Process Of “Five Easy Pieces” With Milo Rau
It was a pleasure to sit down and talk to Stefan Bläske, the resident dramaturg of the...
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“Rags Parkland Sings The Songs Of The Future” – Sci-fi Folk Concert at Ars Nova
What forces in today’s society will retain their power three hundred years into the future?...
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Jonathan Kalb Interviews Himself On Daniel Fish’s “Oklahoma!”
Jonathan Kalb: So Jonathan, did you like the show? Jonathan Kalb: Can we come back to that,...
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An Intricate Rumination On The Partnership Between Music And Dance
Concert, By Colin Dunne, Dance Umbrella Festival 2018, London, Barbican The important thing about...
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In “Midsummer” The Mobile Unit Delivers a Joyous Celebration of Life and Shakespeare
Joe Papp would be proud had he lived to see what his Mobile Theater had become: a brimming, joyous sanctuary of inclusivity and plurality, of Shakespearean excellence armed with subtle and striking mindfulness, no longer a struggling caravan of the American theater’s earliest pioneers, but a rag-tag group of brilliant players all the same.
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Martin Crimp’s “Dealing With Clair” At The Orange Tree Theatre
On the morning when this stylish revival of Martin Crimp’s 1988 play opens, I wake up to the news...
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“Art Doesn’t Exist To Be Liked” An Interview With Russian Stage Director, Timofey Kulyabin
Timofey Kulyabin is one of the most prominent young directors in Russia today. At 34, he has...
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“I Call Myself Princess” Is A Gifted Conduit For Escalating Ancestors
After attending a rehearsal and speaking with playwright Jani Lauzon and director Marjorie...
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From Idea To Page To Stage
The creators of #SingIndiaSing talk about what it takes to make a musical from the ground up The...
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Who Is Theater Maker Ellenor Riley-Condit?
Ellenor Riley-Condit is an actor, producer, creator, and artistic director of The Syndicate. She...
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“The Barber Of Seville” at Boston Lyric Opera
Gioachino Rossini’s most famous opera, The Barber Of Seville, opened Friday night at the Cutler...
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Dianne Wiest’s Winnie In Madison Square Park
Nothing you do this week will likely be more worthwhile than spending 40-odd minutes with Dianne...
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Miguel Septién A Great Direction Of “Kiss Of The Spider Woman”: A Risky And Avant-Garde Proposal
Kiss Of The Spider Woman is splendidly directed by Miguel Septién, an excellent director who...
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Peter Hinton’s Return To The NAC Stage
When Silence: Mabel And Alexander Graham Bell opens at the NAC, it will mark a significant...
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“There Was No Evidence That I Was Spying For Russia. I Was Just Queer.”
Oberon founder James Hogan writes about his experiences as a gay man in 1960s London, and why he...
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Prasanth Narayanan Is Giving Shape To A Novel Theatre Culture
The theatre director is bringing in a new visual language and dynamics through Prasanth Narayanan...
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Bryony Kimmings’ “I Am A Phoenix, Bitch”
On Friday, March 13, 2015, the Grand Hall at Battersea Arts Centre in South London went up in...
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Russian Theater Companies Are Using Augmented Reality To Draw In The Crowds
Want to catch a glimpse of a play before splashing the cash on a ticket? Now you can…in 3D...
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Cheek by Jowl and The Pushkin Theatre’s “Measure for Measure”
Authority. Surveillance. Enforcement. Confession. These are the tools of the state brought to life...
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David Edgar’s “Trying It On” At The Royal Court
Playwright David Edgar is lucky. To begin with, he appreciates his luck in having been born in...
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