“Superhoe” at The Royal Court: Nicôle Lecky’s One-Woman Debut
Titles matter: they send out messages. So, in the current #MeToo climate, isn’t it a bit...
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Theatre and Gender
“Cougar” at The Orange Tree Theatre
Okay, let’s start with a definition: “Cougar: an older woman who actively seeks the casual, often...
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“America Adjacent” At The Skylight Theatre Is Worth Consideration…
If this sounds stark, that’s only because a simple paragraph of explanation cannot possibly do the script justice. Los Angeles based playwright Boni B. Alvarez is himself a son of Filipino immigrant parents and he has tapped into his roots to craft multi-dimensional characters that deliver surprising levels of humor in spite of the fact that they are essentially prisoners. The humor reveals the humanity and depth of these characters in ways that draw you close to them no matter how far removed you might feel from their situation.
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Two Bold Shows by Women of Color at Mabou Mines
When I entered the theater at Mabou Mines for Edisa Weeks’ performance of Three Rites: Liberty, my...
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China, Liberia, America: A Suite Of Women’s Stories
In an intimate performance space in New York’s East Village, a quietly consequential experiment is...
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Unfinished Business: “A Doll’s House, Part 2” at The Huntington Theatre Company
After A Doll’s House, Part 2 enjoyed critical acclaim and eight Tony nominations on Broadway,...
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Creating a Space for Repeating a Domestic Nightmare: A Note on the Performance of “You Were Occupied with Your Dying”
The privatization of theatre in Iran has compelled many theatre directors and producers to become...
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Street-Theatre And Indian Feminist Theatre
Impact of Street-Theatre on the Formation of Indian Feminist Theatre The introduction of feminist...
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The Patriarchy Won’t Smash Itself: Interview with Kryssi Jeaux Miller, Founder of the Northern Colorado Jousting Troupe Knights of the Tempest
Kryssi Jeaux Miller is a young woman full of surprises. Kryssi wears many hats: she performs,...
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Martin Crimp’s “When We Have Sufficiently Tortured Each Other” At The National Theatre
The most hyped play of the year is here. Because of the huge demand for seats, and the relative...
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“The Unreturning” at The Theatre Royal Stratford East
Nadia Fall is a good thing. Her appointment as the artistic director of this venue, with her first...
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“Deer Woman” Is A Work Of Immense Power And Artistry
One of the most exhilarating things about Wesley Enoch’s tenure as Artistic Director of the Sydney...
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Molly Lowe And Bertolt Brecht: Making The Familiar Strange
Blurring the lines between the grotesque and the beautiful, the cerebral and the corporeal,...
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Betraying Kane, the Musical: “4.48 Psychosis” Venables’ Operatic Version
4.48 Psychosis, by Sarah Kane, was turned into an opera by composer Philip Venables in a...
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A Review of “Under the Influence” from the 2018 Boska Komedia Festival: Splitting the Mind and Splitting the Stage
Pod presją [Under the Influence], directed by Maja Kleczewska. Presented at Teatr Ludowy, ICE...
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Freemuse Report On Women And Artistic Freedom: Copenhagen, 29. November 2018
In collaboration with Yildiz Akdogan MP and KVINFO, Freemuse launched its new report on women and...
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“Barber Shop Chronicles”: Man Talk In A Man’s World
Inua Ellams’ Barber Shop Chronicles, his first full-length play, was a smash-hit when it opened in...
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Terrific Power: “St. Kilda” at the So-Fi Festival in NYC
Jody Christopherson’s one-woman show St. Kilda, at the So-Fi Festival, gave me one of the...
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Sheetala Bhat Documents The Lives Of Female Performers In Colonial India
Sheetala Bhat’s Performing Self, Performing Gender: Reading The Lives Of Women Performers In...
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“Muhnochini”: Wrestling With Feminine Forces
The quiet drone of a tanpura marks the meditative beginnings of a new solo performance that opened...
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