“Keely and Du” at The Seeing Place
Keely and Du, Jane Martin’s seminal work from 1993, is a piece often touted for its emotional...
Read MorePosted by Rhiannon Ling | 15th Nov 2020 | Covid-19, New York, Review, Theatre and Politics, United States of America
Keely and Du, Jane Martin’s seminal work from 1993, is a piece often touted for its emotional...
Read MorePosted by Michael Schweikardt | 10th Nov 2020 | Design, Review, Transmedia, United States of America
Co-workers Masha and Nikolai sit side by side in separate black boxes on my laptop screen. Their...
Read MorePosted by John Brunner | 5th Nov 2020 | Los Angeles, Review, Theatre and Politics, United States of America
On September 7, 1964, during an NBC Monday night movie, the democratic campaign to reelect...
Read MorePosted by David Vernon | 3rd Nov 2020 | Musical Theatre, New York, Puppetry, Review, United States of America
All Hallows Eve is one of those rare productions that contain all the spicy ingredients of a...
Read MorePosted by Irina Yakubovskaya | 2nd Nov 2020 | Acting, Boston, Interview, United States of America
Michael Chekhov Actor Studio Boston, or MCASB, has been one of the leading New England acting...
Read MorePosted by Clare Cioffero | 31st Oct 2020 | Review, Theatre and Art, United States of America
To the right of the piano, hung on the far wall of the space, was the ravishing 103 x 172.5 inch acrylic on canvas. The Frankenthaler abstract painting dominated the space with a wash of undulating colors and shapes. Rothenberg opened with commentary about the connections between these two works of art explaining that while it’s challenging to talk about abstract works, as Baudelaire wrote, sometimes the combination of two difficult pieces can clarify and reveal the heart of the works.
Read MorePosted by Christine Deitner | 29th Oct 2020 | Los Angeles, Review, United States of America
I won’t be the first or last person to note that 2020 has been a challenging year. It has...
Read MorePosted by Megan McCormick | 27th Oct 2020 | Review, Theatre and Gender, Theatre and Opera, United States of America
A blend of evocative medieval accompaniment and leaping modern Soprano melodies, The Anchoress is...
Read MorePosted by Andrew Agress | 26th Oct 2020 | Chicago, Featured, Interview, Transmedia, United States of America
While theaters around the United States typically produce The Rocky Horror Picture Show around...
Read MorePosted by Jack Wernick | 26th Oct 2020 | LGBTQ+ Theatre, New York, Review, Theatre and Politics, United States of America
Camp is very much in season in Circle Jerk, a pitched-to-the-rafters romp from new media and...
Read MorePosted by Rhiannon Ling | 21st Oct 2020 | Essay, Theatre and Disability, Theatre and Politics, United States of America
There’s no denying that COVID-19 has been a financial and connectivity nightmare for artists....
Read MorePosted by Marcina Zaccaria | 15th Oct 2020 | New York, Review, Theatre and Opera, United States of America
How do we continue forward without the great opera houses open? It is an extraordinary moment for...
Read MorePosted by Sarah Bay-Cheng | 12th Oct 2020 | Covid-19, Essay, Participatory Theatre, United States of America
“I’m so glad I saw it live!” That’s what I said after the nerve-wracking Game 6 of the NBA...
Read MorePosted by Heather Waters | 8th Oct 2020 | Los Angeles, Playwriting, Theatre and Politics, United States of America
Sweat, by Lynn Nottage, is a cautionary tale about how the effects of poverty, or the threat of...
Read MorePosted by Colden Lamb | 7th Oct 2020 | Design, Interview, United States of America
In March 2020, Colden Lamb had the opportunity to sit down with award-winning costume designer...
Read MorePosted by Michael Schweikardt | 22nd Sep 2020 | Design, Interview, United States of America
On Monday, August 31st, 2020, Rattlestick Playwrights Theater presented a benefit concert...
Read MorePosted by Rhiannon Ling | 21st Sep 2020 | Adaptation, Covid-19, United States of America
Zoom plays can feel a little dry. I’m sure, after months of this quarantine, we’ve all had the...
Read MorePosted by Clare Cioffero | 16th Sep 2020 | Interview, New York, Playwriting, Polish Theatre Archives, United States of America
For theater, I like to give myself constraints. So for this, the constraint was that I wanted to write this for two people, partially because I love 2-person plays. There aren’t enough of them, and also, they’re so much more producible, and it’s amazing to watch two people pull something off, so I gave myself that challenge. It sort of opened up the door for me in terms of what the piece was going to be like stylistically – I wanted it to be a bunch of different genres and I wanted it to be ironic and funny and also heartfelt at the same time. That was all sort of outside-in thinking about this piece which isn’t always how it is, but helped me get into it. The more I worked on it, the more I have fallen in love with the characters and their story, but it frankly came about by thinking about the structure itself, and what I wanted to play to feel like and how I wanted it to be formed versus what it was actually going to be – form then content rather than the other way around.
Read MorePosted by Emily Cordes | 10th Sep 2020 | Covid-19, Festivals, Review, Transmedia, United States of America
After nearly half a year in quarantine, many artists still wrestle with the conundrum of COVID-era...
Read MorePosted by Rhiannon Ling | 6th Sep 2020 | Covid-19, LGBTQ+ Theatre, New York, Review, Transmedia, United States of America
Beginning with the erecting of a green screen and ending with its dismantling, Different Stars: A...
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