United States of America Archives - Page 38 of 56

Legacy And Genius In Machover’s New Opera “Schoenberg In Hollywood”

Posted by Megan McCormick | 1st Dec 2018 | Boston, Review, Theatre and Opera, United States of America

It’s a bold move to write an opera about a musical genius: to evoke the style of said great...

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...

“Androcles and the Lion” And “Espæce” At The Pittsburgh International Festival Of Firsts

Posted by Wendy Arons | 27th Nov 2018 | Pittsburgh, The Pittsburgh Tatler

The Pittsburgh International Festival of Firsts finished in a blaze of glory this past week with...

“Blue Kettle” And “Here We Go”: A First Rate Revival Of Two Of Caryl Churchill’s Plays

Posted by Jane Baldwin | 26th Nov 2018 | Boston, Review, United States of America

The Boston Commonwealth Shakespeare Company began life as a summer program over twenty years ago...

Pioneering Black Superstar Immortalized on Stage

Posted by Alexander Nderitu | 25th Nov 2018 | Review, Theatre and Gender, United States of America

Josephine Baker tribute shows garner favourable reviews across the world.

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.

(LA)Phil/The Industry Flexes Fluxus With Cage’s “Europeras”

Posted by Lauren Deutsch | 19th Nov 2018 | Festivals, Los Angeles, Review, Theatre and Opera, United States of America

John Cage’s Europera 1 and Europera 2, (aka Europeras 1 & 2) was presented by The...

“Fun Home”: An Extraordinary Musical

Posted by Jane Baldwin | 19th Nov 2018 | Boston, LGBTQ+ Theatre, Musical Theatre, Review, United States of America

Fun Home, the multi-Tony award winning musical is making its Boston début at SpeakEasy and a fine...

Invertigo Dance Theatre Company: A Conversation With Laura Karlin And Sofia Klass

Posted by Elisa Rocha | 18th Nov 2018 | Interview, Los Angeles, Theatre and Dance, Theatre and Disability, United States of America

Invertigo Dance Theatre is a provocative and passionate dance company based in Los Angeles. Laura...

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.

“Daniel’s Husband” At Westside Theatre

Posted by Jack Wernick | 10th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

A poignant, topical chamber piece for five characters, Daniel’s Husband commences with two gay...

At LCT, “Plot Points In Our Sexual Development” Traces the Edges of Queer Intimacy

Posted by Michael Appler | 8th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

Queer spaces, Miranda Rose Hall suggests, are uniquely suited to plot the points of sexual development, to explore the dynamic, malleable nature of identity. Queer sex not as negotiation or imitation, but as creation and innovation.

“The Ferryman” Steers Us to the Crossroads of Family and Myth, History and Tradition

Posted by Michael Appler | 8th Nov 2018 | New York, Review, United States of America

Beyond the guises of harvest festivity, more sinister fates are at work. Holy vows have been broken. Betrayals and tragic sin done. Promises not made, innocent slain and wars unwon.

“Torch Song” Breathes New Life, Radiantly Led By Michael Urie

Posted by Michael Appler | 8th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

You may find that this glorious Broadway revival, led by Michael Urie and Mercedes Ruehl in the same theater where it opened over 35 years ago, burns a softer flame — no less bright, for sure, but perhaps a bit more tender, lit for a time when a drag queen poised before a Broadway audience, while no less political, is imaginably less avant-garde.

“Eve’s Song” Makes An Ambitious Attempt at Tackling Family and Violence in Black America

Posted by Michael Appler | 7th Nov 2018 | New York, Review, United States of America

While Eve’s Song hopes to confront systemic issues of violence and race in America, it looks to do so amidst the microscopic setting of the family table — not a microcosm of these problems but an island that seeks to distance itself from them.