Why Produce Karen Zacarías’ “Just Like Us”? Why now?
When I founded the 50 Playwrights Project the last thing I wanted to do was produce live theatre....
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United States of America
Boston Opera Collaborative’s “Opera Bites” Is A Moveable Feast
Delightfully thought-provoking and fun, the Boston Opera Collaborative’s third annual festival...
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A Living Mockery: The Ridiculous Theatrical Company At Fifty
In 1967, not one but two productions of Charles Ludlam’s deliciously demented Conquest Of The...
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For The Love Of The Game: “Peh LO Tah” at BAM
Beginning with the soccer ball, Marc Bamuthi Joseph moves to the left and to the right, shifting a...
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The “Motherline” Project Honors The Stories Of Women With Depth And Diversity
After starting in New York, the storytelling performance made its international debut in Cairo,...
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“Tiny Beautiful Things” at The Public Theatre
Dear Dust Man, I’m an avid theatergoer who missed seeing Nia Vardalos’s stage adaptation of Cheryl...
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“The Revolutionists”: How Far Have We Come?
The Nora Theatre Company at the Central Square Theatre in Cambridge, MA is currently...
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Dramaturgical Leadership And The Politics Of Appeal In Commercial Theatre
In an early scene of Rick Elice’s irreverent Peter Pan prequel, Peter And The Starcatcher, the...
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Apothetae And Lark National Convening: Five Conversations About Disability And Theater
On September 15, 2017, over 60 artists, administrators, educators, and other various stakeholders...
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“The Mecca Tales” in New York
The Mecca Tales is an essential new work of theatre by emerging Chicago-based playwright Rohina...
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David Greenspan Dazzles In One-Man “Strange Interlude”
After his one visit to the country in 1909, Sigmund Freud reportedly remarked to a friend that...
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Family, Latinidad, and Queerness Coalesce In Marga Gomez’s “Latin Standards”
Marga Gomez began her career in San Francisco’s gay comedy clubs in the mid-1980s, including the...
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Is VR the Future Of Live Performance?
What do Coldplay, Stevie Wonder, and the Imagine Dragons all have in common? The answer, and well...
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David Greenspan’s One-Man, 6-Hour Performance of Eugene O’Neill’s “Strange Interlude”
The most interesting question about David Greenspan’s one-man, 6-hour performance of Eugene...
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Come On A My House: “Fireflies” at The Long Wharf Theatre
The kitchen of an aging spinster in a small town in Texas may be an unlikely place to find...
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Eurydice Among the Shades – Elfriede Jelinek’s “Shadow. Eurydice Says” in NYC
Elfriede Jelinek’s Shadow. Eurydice Says is not much of a drama, if by that is meant a...
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“Bright Star” Shines It’s Light on The Ahmanson, Los Angeles
With the opening of Bright Star at The Ahmanson Theatre at The Music Center in Downtown Los...
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‘No I in Team’ – Sarah DeLappe’s “The Wolves” at TheaterWorks
The great strength of The Wolves, the debut play by Sarah DeLappe now playing in an extended run...
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An Interview with Graham Schmidt: Bringing Russian Theatre To U.S. Audiences
An interview with Graham Schmidt, artistic director of Austin’s Breaking String Theater....
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One Last Grasp: “Exit The King” By Boston’s Actor’s Shakespeare Project
When the dying King Berenger the First petulantly exclaims “Let everything die, if my death won’t...
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