Immersive Opera “Laila” at the 50th Hong Kong Arts Festival
Laila, a special co-production by the Hong Kong Arts Festival (HKAF) and the Finnish National...
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Transmedia
The Pandemic Made Their Women’s Suffrage Play Impossible. But the Show Went On — Virtually
Leaders of the women’s suffrage movement relied on public performance to promote their cause. They...
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A Conversation with Director Ashley Tata
Ashley Tata is a Brooklyn-based director and maker of multimedia works. I had the pleasure of...
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“The Empire Builders:” A Bold Experiment in Alternative Theatre
An intimate listening party of The Empire Builders, an immersive audio production performed by the...
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About “Mum. Can You Hear Me?”
Over the past year we’ve become used to a variety of home theatre: recordings of live...
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Mark Ravenhill’s “Angela” on The Sound Stage
Does a subjective theatre piece encourage a subjective critical response? I think it might,...
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“The Other Solos, Shakespeare:” Brexit, Shakespeare, and Foreign Voices
Today, 23rd of April 2021, is the 405 anniversary of Shakespeare’s death. In two months, on...
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“From the Fishbowl”: Devising Theatre in a World Interrupted
This year, the University of Arizona School of Theatre, Film & Television partnered with The...
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The Social Theater of Ambulatory Care in Poland. Part 3.
For Part 1 and 2 go here. Revolution: A Response to a Systemic Crisis Those theaters of ambulatory...
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Making Live Theatre Limitless Through Film and Digital Access: Conversation with the Founder of Stage Russia, Eddie Aronoff.
Stage Russia is an international Theatre HD project formed by Eddie Aronoff, an American producer...
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“Manimals” and the Exploration of Digital Liveness
Manimals, created by Michelle Hudson and her team, shines as a piece that accomplishes the difficult taste of engaging audiences across the computer screen.
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5 Reasons Why Verse Is the Language for Theatre in 2020s
While theatre in its early days existed in a strong relationship with verse, the social, cultural,...
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Women in the Lead: Julie Proudfoot on Artemisia Theatre’s 2021 Digital Season
As a female-identifying artist deeply invested in women’s stories (and as a staunch feminist),...
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New York’s Secret Theatre Brings an Experiential Horror-Thriller Play to India
Redemption Room, an experiential horror-thriller theatre performance by New York-based Secret...
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Inside Virtual Rooms
In March 2020 in the midst of social isolation, Oskar Sadowski suggested to his friends that they...
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In Space, No-One Can Hear you Quarantine: San Diego Fringe Theatre Artists Discuss a Year-Long Collaborative Online Monologue Project.
The works of San-Diego-based theatre company Lonesome Whistle Productions thrive in the...
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Review: Tarragon Theatre’s “Orestes” by Rick Roberts
Tarragon Theatre’s technological foray into the virtual reality of a Covid-19 lockdown begins with...
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Expect Revivals and VR from the Stage as Theater Continues to Deal with the Coronavirus
In his 1964 anthem, “The Times They Are A-Changin’,” Bob Dylan sings: “As the present now / Will...
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“I Imagine “Future” as a Hologram Rather Than as a Frozen Marble Sculpture”: An interview with choreographer Galina Borissova
Galina Borissova is a dancer and choreographer, working mainly in the field of modern and...
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Digital Ghost: The Modern Vignette Between Two Worlds. Ansky’s “The Dybbuk” on Zoom
This article has been translated from it’s original Yiddish by Vassili Schedrin The year...
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