“My Fair Lady” is Revived, Brilliantly Led by Lauren Ambrose
Where others this season have failed to mount lovable productions of classic Broadway theater, Bartlett Sher’s lush, elegant revival of My Fair Lady is triumphantly successful.
Read MorePosted by Michael Appler | 1st Mar 2018 | New York, Review, Theatre and Gender, United States of America
Where others this season have failed to mount lovable productions of classic Broadway theater, Bartlett Sher’s lush, elegant revival of My Fair Lady is triumphantly successful.
Read MorePosted by Jonathan Kalb | 27th Feb 2018 | New York, Review, Theatre and Gender, United States of America
Yesterday I knew nothing about the playwright Gracie Gardner or The Hearth, a feminist theater...
Read MorePosted by Jack Wernick | 24th Feb 2018 | Immersive Theatre, New York, Review, Stage Combat, Theatre and Politics, United States of America
One of New York City’s most dynamic young theater companies makes a bold addition to its...
Read MorePosted by Jessica Rizzo | 15th Feb 2018 | New York, Review, United States of America
Best known in the US for the stunning exemplars of the German Regietheater tradition he regularly...
Read MorePosted by Mark Galinovsky | 10th Feb 2018 | Interview, Musical Theatre, New York, United States of America
Rob Rokicki is a Drama Desk, Lortel, and Off-Broadway alliance-nominated composer/lyricist. His...
Read MorePosted by Jessica Rizzo | 8th Feb 2018 | New York, Review, Theatre and Gender, United States of America
The explosively feminine theater of Adrienne Kennedy breaks many of the fundamental “rules” of...
Read MorePosted by Cate Cammarata | 6th Feb 2018 | New York, Prototype 2018, Theatre and Opera, Transmedia, United States of America
“To dive we must forget the surface fuss… Ignore all surface fuss.. Ignore the surface…” -From...
Read MorePosted by Heather Waters and Susan LaFever | 5th Feb 2018 | New York, Prototype 2018, Theatre and Film, Theatre and Opera, United States of America
Of the two reviewers, Waters saw Captive Wild Woman, the movie the opera is based on, the morning...
Read MorePosted by Kendra Augustin | 3rd Feb 2018 | Festivals, New York, Prototype 2018, Review, Theatre and Opera, United States of America
When a show begins I find it difficult for me to be present. Almost, as if, I’m like...
Read MorePosted by Jack Wernick | 29th Jan 2018 | New York, Review, Theatre and Dance, United States of America
New York-based experimental troupe Nature Theater of Oklahoma (NTO) teams up with Slovenia’s...
Read MorePosted by Jonathan Kalb | 29th Jan 2018 | New York, Playwriting, Review, United States of America
I want the experience for the audience to be a sort of speeding train that gets completely and...
Read MorePosted by Bryoni Trezise | 28th Jan 2018 | Australia, New York, Sydney, Theatre and Gender, United States of America
The moment was 1971, Labour Day’s eve. The context: a biting critique of feminism published by...
Read MorePosted by The Theatre Times | 25th Jan 2018 | Festivals, New York, Prototype 2018, Review, Theatre and Opera, Theatre and Politics, United States of America
As the theatre world pushes boundaries and redefines genres, it has become exceedingly rare to...
Read MorePosted by Rebekah Unsworth | 17th Jan 2018 | Design, Interview, New York, Theatre and Disability, United States of America
Tectonic Theater Company’s latest production at the Sheen Center in New York, Uncommon Sense,...
Read MorePosted by Jeff Goldberg | 7th Jan 2018 | Interview, Japan, New York, Theatre and Dance, United States of America
Butoh is now being taught to Zen students, prisoners, and others as a way to acknowledge difficult...
Read MorePosted by Michael Breslin | 6th Jan 2018 | LGBTQ+ Theatre, New York, Review, Russia, Russian Theatre Abroad, Theatre and Gender, United States of America
Twenty years after the Wooster Group’s seminal Three Sisters-inspired Brace Up!, contemporary New...
Read MorePosted by Jessica Rizzo | 3rd Jan 2018 | New York, Playwriting, Review, Theatre and Age, United States of America
The ghost of Mary Shelley keeps rudely interrupting Mabou Mines’s Glass Guignol: The Brother And...
Read MorePosted by Walter Byongsok Chon | 2nd Jan 2018 | Interview, Musical Theatre, New York, South Korea, Transcultural Collaborations
To read Part I of the series on KPOP, click here. For the article, I spoke with Jason Kim and...
Read MorePosted by Walter Byongsok Chon | 1st Jan 2018 | Essay, Musical Theatre, New York, South Korea, Transcultural Collaborations, United States of America
In the last few months of 2017, K-pop (Korean pop) has made it into U.S. news reports in two...
Read MorePosted by Heather Waters | 24th Dec 2017 | Acting, Directing, New York, Review, United States of America
Fiasco Theater begins its experimental take of William Shakespeare’s Twelfth Night, Or What You...
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