Reinforcing Patriarchal Systems Of Power In BOC’s “‘Modern’ Don Giovanni”
Classical opera is a wonderful art form because, in so many ways, it is timeless. The music may be...
Read MorePosted by Megan McCormick | 11th Apr 2019 | Boston, Review, Theatre and Opera, United States of America
Classical opera is a wonderful art form because, in so many ways, it is timeless. The music may be...
Read MorePosted by Jane Baldwin | 10th Apr 2019 | Boston, Review, Theatre and Politics, United Kingdom, United States of America
The National Theatre’s production of J.B. Priestley’s 1945 An Inspector Calls now playing at...
Read MorePosted by Jane Baldwin | 8th Apr 2019 | Acting, Boston, News, United States of America
Birdy, an adaptation by Naomi Wallace of William Wharton’s once renowned 1978 novel is now playing...
Read MorePosted by Trevor Boffone | 7th Apr 2019 | Review, United States of America
On March 29, 2019, pictures surfaced of undocumented Latin American immigrants in El Paso, Texas....
Read MorePosted by Vanessa Diego | 6th Apr 2019 | Interview, Los Angeles, United States of America
Jonathan Dorf is a Los Angeles playwright and screenwriter with work produced worldwide. He’s...
Read MorePosted by Christine Deitner | 5th Apr 2019 | LGBTQ+ Theatre, Los Angeles, Review, Theatre and Gender, United States of America
The Center Theatre Group’s second Block Party show at the Kirk Douglas Theatre in Century City is...
Read MorePosted by Abigail Weil | 5th Apr 2019 | New York, Review, Theatre for Young Audiences, United States of America
How do I love Mrs. Murray’s Menagerie? Let me count the ways. Extraordinary attention to detail,...
Read MorePosted by Jonathan Kalb | 4th Apr 2019 | New York, Review, United States of America
In the winter of 1977, at age 17, I played Petruchio/Fred Graham in a Kiss Me, Kate production at...
Read MorePosted by Delaney Powell | 4th Apr 2019 | Interview, United States of America
Halley Feiffer spent her college years and young adulthood drowning in alcohol, almost to the...
Read MorePosted by Colin McIsaac | 4th Apr 2019 | Interview, Los Angeles, United States of America
Phil Burgers is an award-winning comedy writer and performer who has moved from clowning in France...
Read MorePosted by Wendy Arons | 2nd Apr 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
The intimate and mesmerizing Brave Space is a circus performance unlike any other you may have...
Read MorePosted by Michael Appler | 1st Apr 2019 | New York, Review, Theatre and Politics, United States of America
In Heidi Schreck’s hands rests a divine power which only the best of storytellers wield to purge...
Read MorePosted by Wendy Arons | 1st Apr 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
A large–one might venture to say, deliberately oversized–dark blue door dominates the elegantly...
Read MorePosted by Wendy Arons | 1st Apr 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
The detailed open-plan kitchen that greets you as you take your seat at City Theatre’s production...
Read MorePosted by Wendy Arons | 31st Mar 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
Mumburger The tagline in the publicity for Sarah Kosar’s new play Mumburger reads “a surreal play...
Read MorePosted by Abigail Weil | 31st Mar 2019 | Adaptation, New York, Review, United States of America
You know The Thousand And One Nights both better and worse than you realize. You may know it by a...
Read MorePosted by Christine Deitner | 30th Mar 2019 | Los Angeles, Review, United States of America
It is the Odyssey Theatre’s 50th Anniversary Season and in honor of this wonderful accomplishment the company starts off with an intimate and powerful bang with Brian Friel’s “Faith Healer” as directed by Ron Sossi, the company’s artistic director. In the program notes Mr. Sossi points out that though the theatre launched in 1969 and the play didn’t appear on the scene until the late 1970s, the play seems a “most apt prelude to the[ir] retrospective” season due to its innovative role in developing what we now know as the ‘monologue play’. It was also the first play the company performed when they opened their new/current space 30 years prior on S. Sepulveda Blvd in Los Angeles.
Read MorePosted by Abigail Weil | 30th Mar 2019 | Adaptation, New York, Review, United States of America
Creating riveting theater out of the problem of a bureaucratic oversight is no easy feat. Luckily...
Read MorePosted by Abigail Weil | 29th Mar 2019 | LGBTQ+ Theatre, New York, Review, Theatre and Gender, United States of America
Is Sasha Velour a drag queen? It’s debatable. She’s certainly a drag royalty, having won the ninth...
Read MorePosted by Michael Appler | 29th Mar 2019 | New York, Review, Theatre and Disability, United States of America
We tend to think of disability as unlike other monuments of cultural identity, like race or...
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