Of Wizards and Trolls: “Russian Troll Farm: A Workplace Comedy”
Co-workers Masha and Nikolai sit side by side in separate black boxes on my laptop screen. Their...
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Design
The Best of All Possible Costumes: An Interview with Costume Designer Judith Dolan
In March 2020, Colden Lamb had the opportunity to sit down with award-winning costume designer...
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Designing “Soldiergirls”: When Truth is More Compelling than Fiction
On Monday, August 31st, 2020, Rattlestick Playwrights Theater presented a benefit concert...
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Disrupting The Flow: Artist Mark Chung Reflects On An Ailing Hong Kong
When you step into Wheezing, Mark Chung’s new show at de Sarthe Gallery, the first thing you...
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An Interview with Tim Minchin, Writer and Star of the New Australian Television Series: “Upright”
Upright, a new Australian television drama, co-written by and starring the multitalented Tim...
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To Screen or Not to Screen: A Digital Experience at Mixer
In these uncertain times, as distance has taken on special meaning, the screen has gained a...
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Meet The Masters Behind Hong Kong’s Most Extraordinary Bamboo Theatre
For generations, bamboo theatres have been a thread that ties together Hong Kong’s present and...
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Stage Design: Tradition of Diversity
Germany has more theatres and concert halls than almost any other country in the world. From its...
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The Mechanics of Crafting Transitions
For ensemble pieces in theatre, where actors never once leave the stage, what becomes...
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Lasting Friendships: An Interview with Philip Arnoult
When someone speaks about US and Hungarian theatrical relationships, you cannot miss his name....
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U.S. Architects to Build Splendid New Theater in Russia’s Perm
Designers have revealed renderings of their project that is to grace the Urals. American studio...
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Haruna Lee’s “Suicide Forest”
Suicide Forest, written by and starring Haruna Lee is a trippy meditation on the extremes of...
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Druid Shakespeare: “Richard III” – The Voracious Void
A series of questions filled my mind. What was the motivation behind the choice of sets and costumes? In my opinion, the only thing that really worked well set wise was the ever-present void on stage, the grave downstage in which all bodies were thrown in – a constant reminder of death and of Richard’s deeds.
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A Space Divided: GCTC’s “Cottagers and Indians” an Evocative Disavowal of White Privilege
The split is clear upon first glance. He wears muddy jeans and rain boots, while she dons...
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Chris Medvitz: Finding Artistic Solutions
With a background in theatrical lighting, Chris Medvitz is a current Partner and Principal at...
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I Can’t Hear You in the Dark: How Scenic Designer Sean Fanning Negotiates the Deaf and Hearing Worlds
Scenic designer Sean Fanning recently designed a beautiful and provocative set for Jack Thorne’s...
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The WaxFactory’s “Lulu XX”
The WaxFactory’s new production Lulu XX is many steps away from originality. The heart of the play...
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Jane Goodall’s Immersive Paper Forest Promotes Conservation
A rainforest has risen on the ground level of the Hong Kong Science Museum. Leaves rustle...
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Theatres Are Evolving To Reconnect Us To Each Other And The Environment
Theatre is a dynamic art form that combines bodies, light, sound and materials into exciting live...
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PQ 2019: Paradise City
Today’s Prague Quadrennial adventures took me further away from the Exhibition Grounds than any...
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