New Deal for Broadway: NYC Theater Luminaries Agree on Reforms
Following a summit of industry leaders organized by Black Theatre United earlier this year, a...
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United States of America
The Barber of Seville
Indeed in the Baroque period, before the invention of the conductors, harpsichordists (who were usually also the composer) would lead the orchestra, establishing the harmonic structure and ensuring the rhythmic steadiness by nodding their heads. As music became more harmonically complex, and harpsichordists had to focus exclusively on their playing, the conducting duties fell to the first violinist. This style of orchestral leading, split between the harpsichordists and the violinist, was soon abandoned due to an inherent clash in leadership.
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“An Odyssey” at Quantum Theatre, Pittsburgh, PA
Imagine, if you will, one of those old-fashioned TV game shows with two doors. Behind Door Number...
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“(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...
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“WET: A DACAmented Journey” – Powerful Virtual Theatre from The Center Theatre Group
With so many screens in our lives it continues to be a struggle to find the inner strength to...
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“Chalk Lines” by Chalk Repertory Theatre – An Immersive, Virtual, Audio Play Tour
Since January 2009, Chalk Repertory Theatre has been crafting site-specific theatre in Los...
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Cry Havoc Theater Company Lets Slip the Dogs of War
In the midst of the vibrant Dallas theatre scene, there lies a company of prize-winning political...
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Designing for Tuacahn Amphitheater (A Three Part Series): Part Three – An Interview With Lighting Designer Cory Pattak
This is PART 3 of the series. To read PART 1 and PART 2, click the links. I complete my three-part...
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The Universal Immigrant: “Ellis Island” by James Clements and Doireann Mac Mahon
The last several years in our shared history, particularly the rise of discriminatory legislation,...
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Designing for Tuacahn Amphitheater (A Three Part Series): Part Two – An Interview With Projection Designer Steven Royal
For Part 1 see here. “I think that’s sort of the line I’m always hovering around; Does it feel...
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All the TikTok’s a Digital Stage
In the chaotically queer third act of Fake Friends’ 2020 production of Circle Jerk, the...
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Designing for Tuacahn Amphitheater (A Three Part Series): Part One – An Interview With Set Designer Adam Koch
For Part 2 see here. Located in Southern Utah, the majestic Tuacahn Amphitheater has been the...
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Art Scene: “Archive: This Was The End” Taps Extrasensory Senses
Speaking to humanity across time and space, Archive: This Was the End is an interactive sculpture...
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Digital Sci-fi Opera “Red Giant”: An Opera Of Our Times
Red Giant, commissioned by Baltimore-based Indie Opera company, Rhymes with Opera, is a live,...
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Rabbits in the Circus of COVID Isolation: A Review of “White Rabbit Red Rabbit”
The play White Rabbit Red Rabbit is an experimental piece by the Iranian playwright Nassim...
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“The Brooklyn Job” Stole My Heart
With a themed cocktail box, a program that doubled as a coloring book, and incredibly performed...
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NEMPAC Opera Project’s “Juneteenth”: Opera in the Key of Freedom
After more than a year of American racial unrest since the high-profile deaths of George Floyd and...
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On the Basis of Sustainability: Artemisia Theatre’s “Goods”
“I meant to do something about it, but I didn’t.” So goes the refrain when we, as flawed human...
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The Body Tells the Story: Blessed Unrest’s “Touch”
The past year has, in many ways, turned a sharper lens towards our bodies, particularly our...
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“The Door You Never Saw Before: A Choosical Musical” at The Geffen
It’s been a decade of a year, and The Geffen Playhouse (or Geffen Stayhouse as they have been...
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