United States of America Archives - Page 19 of 57

Embrace The Chaos: “Readymade Cabaret 2.0”

Posted by Emily Cordes | 17th Dec 2020 | Devised Theatre, Participatory Theatre, Review, United States of America

Given the year’s unsettling mixed-bag of a global pandemic, racial reckoning, political strife,...

Afro-Latinidad And The Greater Good Of The Latinx Playwrights Circle

Posted by Trevor Boffone | 12th Dec 2020 | Festivals, Playwriting, United States of America

In October 2017, a group of Latinx playwrights came together in New York City to share space,...

A Marriage of Art and Cultures: Leung Ming-kai and Kate Reilly

Posted by Elizabeth Kerr Zolima CityMag | 11th Dec 2020 | China, Hong Kong, Interview, Theatre and Film, United States of America

Sitting in a decidedly Hong Kong-flavoured café in Prince Edward, Leung Ming-kai and Kate Reilly...

Leaving Reality with “Dave’s Roleplays”: An Interview with Actor David French

Posted by Colden Lamb | 7th Dec 2020 | Acting, Covid-19, Interview, Transmedia, United States of America

At first glance, one might consider portraying someone’s older brother, boyfriend, or therapist,...

Under the Influence of Dada: Readymade Cabaret 2.0 Breaks Out of Linear Time, Celebrates Chance

Posted by Alexander Fatouros | 4th Dec 2020 | Featured, New York, Participatory Theatre, Review, Theatre and Art, Theatre and Dance, United States of America

The brilliant performance reaffirms its disregard for conventional attitudes and unjustified inequalities—a nod to the social and political context from which the work sprang.

On Screen And On Stage, Disability Continues To Be Depicted In Outdated, Cliched Ways

Posted by Magda Romanska | 15th Nov 2020 | Essay, Los Angeles, Theatre and Disability, United States of America

The #MeToo and Black Lives Matter movements have forced Hollywood and other artists and filmmakers...

“Keely and Du” at The Seeing Place

Posted 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...

Of Wizards and Trolls: “Russian Troll Farm: A Workplace Comedy”

Posted 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...

Lessons Wanted, But Not Found, in “Daisy”

Posted 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...

“All Hallows Eve”

Posted 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...

Creative Freedom and the Craft of Acting: Interview with Scott Fielding, Founder of Michael Chekhov Actor Studio in Boston.

Posted 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...

Hybrid Vigor: Frankenthaler and Ravel, Part of the “Hearing Color, Seeing Time” Series

Posted 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.