New York Archives - Page 16 of 26

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,...

Touch Me In Duh Righteous: A Fubu “Slave Play” Review

Posted by Jillian Walker | 17th Jan 2019 | New York, Review, United States of America

An audience-sized mirror, a small wooden table with a bowl of fruit, and the lyrics to Rihanna’s...

Identity, Technology, Nostalgia: The Theater Of Ivo Van Hove, Robert Lepage, And The Wooster Group

Posted by Avra Sidiropoulou | 23rd Dec 2018 | Belgium, Canada, Essay, New York, Transmedia, United States of America

In recent theatre practice, attempts have been made and desires expressly voiced–from puppet...

Terrific Power: “St. Kilda” at the So-Fi Festival in NYC

Posted by Abigail Weil | 21st Dec 2018 | Festivals, New York, Review, Theatre and Gender, United States of America

Jody Christopherson’s one-woman show St. Kilda, at the So-Fi Festival, gave me one of the...

“Sycorax, Cyber Queen of Qamara”: A Conversation with Joan Kane and Sandra Bargman

Posted by David Vernon | 21st Dec 2018 | Interview, New York, Producing, United States of America

By Playwright Fengar Gael, Sycorax is a character referred to, yet never seen, in Shakespeare’s “The Tempest.” But, in Fengar Gael’s story, Sycorax has been alive and waiting for 500 years to tell her side of the story.

Ellen Pearlman: Brain Opera, Telematic Performance, And Decoding Dreams

Posted by Irina Yakubovskaya | 15th Dec 2018 | Interview, New York, Theatre and AI, Theatre and Opera, Transmedia, United States of America

Ellen Pearlman is a New York based media artist, curator, writer, critic, and educator. She holds...

“On the Town” and the Long March for Civil Rights in Performance

Posted by Carol J. Oja | 8th Dec 2018 | Essay, Musical Theatre, New York, Theatre and Politics, United States of America

In this blog post, Carol J. Ola, author or Bernstein Meets Broadway: Collaborative Art in a Time...

And Then There Were None: Larissa FastHorse’s “The Thanksgiving Play”

Posted by Jonathan Kalb | 7th Dec 2018 | New York, Review, Theatre and Politics, United States of America

I caught up with The Thanksgiving Play a few days after Thanksgiving. I was in the mood to laugh...

Amazing Grace: The Barrow Group Presents “The Tricky Part”

Posted by Abigail Weil | 6th Dec 2018 | LGBTQ+ Theatre, New York, Review, United States of America

“Sun is bad for you. Everything our parents told us was good is bad. Sun. Milk. Red meat....

“Chasing The New White Whale”: Neither Fish Nor Fowl

Posted by Abigail Weil | 5th Dec 2018 | New York, Review, United States of America

Michael Gorman’s latest play Chasing The New White Whale, at La MaMa where he is the Playwright in...

In “The Making of King Kong,” a Hallucinatory Descent Into the American Imagination

Posted by Michael Appler | 3rd Dec 2018 | New York, Review, Theatre and Politics, United States of America

Claire, though wrapped in the scrappy, eccentric volatility of experimental theater, is a challenging and provoking playwright, smart and admirably critical—hilarious, too.

Pilgrims’ Progress: Larissa FastHorse’s “The Thanksgiving Play”

Posted by Abigail Weil | 29th Nov 2018 | Devised Theatre, New York, Review, Theatre and Politics, United States of America

The political mantra “Nothing about us without us” is hard to object to immediately–it makes...

Is The New York Theater Scene Serving Disabled Artists And The Disabled Population?

Posted by Madison Parrotta | 29th Nov 2018 | Essay, New York, Theatre and Disability, United States of America

The New York theater scene is often thought of as the pinnacle of progression, where the newest...

Interview With Clara Fernandez-Vara: “Your Spectator Is Also Your Player”

Posted by Ágnes Bakk | 23rd Nov 2018 | Interview, New York, Participatory Theatre, Transmedia, United States of America

Clara Fernandez-Vara is an Associate Arts Professor at New York University. Her background is in...

“OnlyHuman” At Danspace Project

Posted by Abigail Weil | 22nd Nov 2018 | New York, Review, Theatre and Dance, United States of America

In the celebratory cookbook Cake, Maira Kalman writes: “When we lived in Rome we had a party...

Tom Stoppard’s “The Hard Problem” Looks for Humanity in Human Consciousness

Posted by Michael Appler | 20th Nov 2018 | New York, Review, United States of America

Stoppard has sought to lower the stage into the depths of the human mind, endeavoring to see the theater as a proxy for human consciousness, an outlet whose own bizarre corruptions of life are but well-directed reflections of our own conscious turmoil.

An Interview With Playwright Alexis Roblan

Posted by Grace Power | 18th Nov 2018 | Interview, New York, Playwriting, United States of America

Alexis Roblan graduated from the University of Southern California’s MFA in Dramatic Writing...

Wit’s End: Will Eno’s “Thom Pain”

Posted by Jonathan Kalb | 16th Nov 2018 | New York, Review, United States of America

“So, a horse walks into a bar. The bartender says, ‘Why the long face?’ And the horse says, ‘I’m...

“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most

Posted by Michael Appler | 15th Nov 2018 | Musical Theatre, New York, Review, United States of America

Maybe “The Prom’s” greatest success, in all of its glitter and be gay, is a validation that splashy, garish musical comedies, themselves no champion of political correctness, can still be made from scratch. “The Prom,” exceptionally original yet cradled by tradition, is proof that bursting into jazz hands when someone puts you down is still a worthy prescription for joy.