The 90-Minute MacGuffin: “Four Saints in Three Acts”
The opera Four Saints in Three Acts’ astonishingly successful run on Broadway in 1934 was the most...
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New York
Patriarchy as Judge: Smith Street’s Contemporary “Measure for Measure”
“Patriarchy is a judge that judges us for being born” proclaims the banner wrapped above our...
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A Queer Memory Play for the Online Generation: “You Don’t Have to Do Anything” Workshops in NYC This October
This October, playwright Ryan Drake and director Ryan Dobrin bring a memory play to the IRT Theater that explores online sexuality.
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VR and Theater Finally Make a Climate Baby: “From Sea To Rising Sea” Interview with Creator-Director-Choreographer Mary John Frank
Technology and the theater are closer together than ever, and our hope for the planet may depend...
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Dangerous Desires in “Marie It’s Time”
Why is this boy-kills-girl play different from all other boy-kills-girl plays? For starters, it...
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Russian Theater Beyond Time and Place. On the 25th Anniversary of the STEPS Theatre
“Time means nothing. That is, it does, but not in the way we think,” says Joseph, the protagonist...
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The Return of Gringoire: An Exclusive Interview with Bruno Pelletier
Interview of the “original” Gringoire from Notre Dame de Paris the musical – Bruno...
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Mental Illness, Misogyny, and the Myth of the Male Genius in “The Butcher Boy”
This review contains spoilers. TW: suicide, homicide, mental illness The Butcher Boy, which opened...
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In Conversation with Regan Hicks: Part Two
This is part 2 of the bipartite interview. To read part 1, click here. Welcome back to the second...
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In Conversation with Regan Hicks: Part One
Regan Hicks is one of my dearest friends and closest collaborators. We’ve worked on a number of...
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“Don’t You Hate It When Assholes Are Talented?”: “macbitches” at Chain Theatre
I went to theatre school. Know this before reading on. I went to theatre school, trained as an...
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Honey, I’m Home! — Robert Icke’s “Oresteia”
If nothing else, you have to admire the chutzpah of Robert Icke’s Oresteia, which tries to...
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Sacrament of the Sea: Houseworld’s “Bottom of the Ocean”
Whispering the word BOTO into the speakeasy-style window of a door, I felt a sense of trepidation,...
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”Seven Women in Search of Mia” or ”Breast Cancer Trilogy” (A Postproduction Reflection)
In 2011, I published my first medical humanities book, Transacting Sites of the Liminal Bodily...
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The Musical “Notre Dame de Paris” Returns to the United States
At the turn of the century, in 1998, Luc Plamondon created one of the greatest musicals Notre Dame...
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“The Aliens Make Thanksgiving Dinner:” An Interview With Co-Creators James Clements, Derya Celikkol, and Maamoun Tebbo
“The Aliens Make Thanksgiving Dinner” is a new devised play, co-written, co-directed...
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Post-Factual Theater: “MJ” on Broadway
On the way to a play one day in early 2019, I climbed out of the subway at 8th Avenue and 44th St....
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Unmanly Griefs: Robert Icke’s “Hamlet”
The first ten minutes of Robert Icke’s 3 ¾-hour Hamlet had me worried. Icke is a British directing...
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“Penelope”: A Fresh Take on Homer’s Classic Epic Poem
The new musical Penelope by the York Theatre Company was a fresh and hilarious comedic take on...
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Comfort in the Unknown: SOCIETY’s “The Strangers Came Today”
How is theater like a support group? This question struck me upon entering The Strangers Came...
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