North America
“Trade/Motorhead” at PROTOTYPE 2023 Festival
A double bill by Irish composer Emma O’Halloran and her uncle, librettist Mark O’Halloran,...
“Trade/Motorhead” at PROTOTYPE 2023 Festival
A double bill by Irish composer Emma O’Halloran and her uncle, librettist Mark O’Halloran,...
Emerging Playwright Embarks on Gershwin Era Musical
American playwright and concert pianist, William Robert Martin, is an emerging artist whose star...
“(It’s Been 76 Years and We’re) Still Waiting for Lefty” – Theatre Unleashed at Hollywood Fringe Festival
Seventy-six years after Clifford Odets’ Waiting for Lefty premiered in New York, Theatre Unleashed...
Radical Representation: “Hi, Are You Single” Engages and Triumphs
Hypnotically charming, exquisitely flamboyant and the very embodiment of wit, Ryan J. Haddad wrote...
“Zahhak: The Legend of the Serpent King” and Dialogue of Civilizations at American Repertory Theater: An Interview with the Creative Team
Zahhak: The Legend of the Serpent King, will be performed January 12 – 15, 2023, at the Loeb...
Perceptions of Each Other’s Cultures: Open Letter to an American Theater Critic
Most theater productions will never become available again, no matter how great the quality,...
Kennedy Center Dramaturgy Intensive 2021 Retrospective
In the face of many challenges in Summer 2021, The John F. Kennedy Center for the Performing Arts...
Once Upon A Time In BIM: A Theatre Resuscitation In The Time Of COVID-19
Independence in Barbados is not without its many activities in celebration. We are accustomed to...
Performative States In Cuba: Coco Fusco In Conversation With Stephanie Bailey
In this conversation, Cuban-American interdisciplinary artist and writer Coco Fusco talks about...
READ ALL FROM NORTH AMERICA
“Trade/Motorhead” at PROTOTYPE 2023 Festival
A double bill by Irish composer Emma O’Halloran and her uncle, librettist Mark O’Halloran,...
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“Undine” at PROTOTYPE 2023 Festival
Undine is a three-act animated opera composed by Stefanie Janssen and Michaël Brijs. The pandemic...
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“In Our Daughter’s Eyes” at PROTOTYPE 2023 Festival
In Our Daughter’s Eyes, composed by Pulitzer prize winning composer Du Yun and librettist Michael...
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Toronto’s Next Gen Theatre Makers are Looking for Answers to Big Questions
When I thought about why I wanted to write this article, a simple, almost childlike thought came...
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“note to a friend” at PROTOTYPE 2023 Festival
note to a friend, composed by Pulitzer prize-winning composer David Lang, is a chamber opera...
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“Morning//Mourning” at PROTOTYPE 2023 Festival
Gelsey Bell’s Morning//Mourning is a quirky, experimental opera that defies categorization. It is...
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Kennedy Center Dramaturgy Intensive 2022
During a summer of uncertainty and anxiety for American theatres and artists alike, a cohort of...
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“The Fall” at Soho Playhouse
On a cold November, New York Friday night, when temperatures approached freezing, the shivering...
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“Lazarus 1972–2022” by Ping Chong
The show Lazarus 1972-2022 is difficult to pin down. How can what a thought looks like be...
Read More“Zahhak: The Legend of the Serpent King” and Dialogue of Civilizations at American Repertory Theater: An Interview with the Creative Team
Zahhak: The Legend of the Serpent King, will be performed January 12 – 15, 2023, at the Loeb...
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“Ain’t No Mo Play” on Broadway at Belasco Theatre
The young playwright Jordan E. Cooper deserves kudos for writing the play Ain’t No Mo. He is...
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Art, Dance, and Film of Ingrid Nachstern and Cate McNider
It was a chance meeting at MoMA’s dance series “Some sweet day” that brought Ingrid Nachstern and...
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“Once Upon A (Korean) Time:” Review
The simplicity of the set was enriched with exquisite lighting design, by Oliver Wason, depicting the starry heavens above, exploding bombs, flocks of butterflies, even projections of characters.
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“&Juliet”: What if?—A Review.
The previews of &Juliet the musical, began October 28th 2022 at the Stephen Sondheim Theatre...
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The Blackest Raisin: “A Raisin in the Sun” at The Public Theatre
Lorraine Hansberry’s A Raisin in the Sun, as anyone reading this knows, is a cornerstone of...
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“In a World Without Roe,” Hedgepig Ensemble Theatre Fosters Theatrical Parity
Walking to the back of Sisters on Fulton, the excitement is palpable. A sizable group has gathered...
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Godless Clergy Members in “The Unbelieving”
The Unbelieving is documentary theater (all the lines are taken from real interviews), but this...
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Growing Up and Getting Through in Jill Sobule’s “F*ck7thGrade”
F*ck7thGrade is messy, it’s awkward, it’s unrelentingly earnest, and it’s utterly delightful....
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Martin Crimp’s “Not One of These People” at the Royal Court: Radical Investigation of Presence and Absence in Fiction
The fictional world is our world, but at the same time it’s another place; likewise, the digital...
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Clowning “On Beckett,” Irwin Delights at the Emerson Paramount Center
Bill Irwin greets the audience by conveying that the performance will be around 90 minutes (by way...
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Melissa Etheridge’s Queer Joy: “My Window—A Journey Through Life”
I was struggling to find my seat at New World Stages when two people a bit older than me wearing...
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Prequel, Sequel and Two Fangs: An Exclusive Interview with Dacre Stoker
This year is the 125th Anniversary of the famous gothic novel written by the Irish writer Bram...
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