North America
Wit’s End: Will Eno’s “Thom Pain”
“So, a horse walks into a bar. The bartender says, ‘Why the long face?’ And the horse says, ‘I’m...
Wit’s End: Will Eno’s “Thom Pain”
“So, a horse walks into a bar. The bartender says, ‘Why the long face?’ And the horse says, ‘I’m...
Who Is Theater Maker Ellenor Riley-Condit?
Ellenor Riley-Condit is an actor, producer, creator, and artistic director of The Syndicate. She...
Brecht Comes Home To Santa Monica With City Garage’s “Arturo Ui”
There are plays that feel timeless because they strike familiar chords and speak to something at...
An Interview With Christine Lamborn: Western Actor’s Perspective On ”Kyogen”
The University of Hawaii at Manoa (UHM) is internationally recognized as the best university-based...
“We Will Not Be Silent”: A Story Of Anti-Fascist Youth
David Meyers’ We Will Not Be Silent, now playing at the New Repertory Theatre at the Mosesian...
Angels (And Demons) Of History In EgoPo’s “Lydie Breeze” Trilogy
Jessica Rizzo sees the 10-hour, marathon performance of EgoPo Theater’s Lydie Breeze trilogy...
Miguel Septién A Great Direction Of “Kiss Of The Spider Woman”: A Risky And Avant-Garde Proposal
Kiss Of The Spider Woman is splendidly directed by Miguel Septién, an excellent director who...
“On The Block” And “Glammuh” Series: One Play And One Visual Artist’s Impressions On The Life Of Black Youth In Contemporary Barbados-Part I
“Don’t afraid to be different. Conformity is practically a death sentence to an artist. In other...
Performative States In Cuba: Coco Fusco In Conversation With Stephanie Bailey
In this conversation, Cuban-American interdisciplinary artist and writer Coco Fusco talks about...
NORTH AMERICAN NEWS ARCHIVES
Wit’s End: Will Eno’s “Thom Pain”
“So, a horse walks into a bar. The bartender says, ‘Why the long face?’ And the horse says, ‘I’m...
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“Daniel’s Husband” At Westside Theatre
A poignant, topical chamber piece for five characters, Daniel’s Husband commences with two gay...
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“Sound Of The Beast” Slams Brutality, Inequality, And Racism
Willow White reviews Donna-Michelle St. Bernard’s one-woman show Sound Of The Beast, produced by...
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“Silence” At The NAC: The Romantic Life Of A Couple Behind The Invention Of The Telephone
Silence brings to the spotlight the romantic life of the husband and wife behind the invention of...
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Recalling Redfeather: Weaving Through History With Jani Lauzon And Marjorie Chan
Note: Robyn Grant-Moran interviews I Call Myself Princess playwright Jane Lauzon and director...
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C For “Cliffhanger” In Academic Murder At The O.L.T
Cliffhanger by James Yaffe in Ottawa Little Theatre. As the plot of Cliffhanger unfolds gently, it...
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“We Will Not Be Silent”: A Story Of Anti-Fascist Youth
David Meyers’ We Will Not Be Silent, now playing at the New Repertory Theatre at the Mosesian...
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“Rags Parkland Sings The Songs Of The Future” – Sci-fi Folk Concert at Ars Nova
What forces in today’s society will retain their power three hundred years into the future?...
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Jonathan Kalb Interviews Himself On Daniel Fish’s “Oklahoma!”
Jonathan Kalb: So Jonathan, did you like the show? Jonathan Kalb: Can we come back to that,...
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“I Call Myself Princess” Is A Gifted Conduit For Escalating Ancestors
After attending a rehearsal and speaking with playwright Jani Lauzon and director Marjorie...
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Who Is Theater Maker Ellenor Riley-Condit?
Ellenor Riley-Condit is an actor, producer, creator, and artistic director of The Syndicate. She...
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“The Barber Of Seville” at Boston Lyric Opera
Gioachino Rossini’s most famous opera, The Barber Of Seville, opened Friday night at the Cutler...
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