United States of America

Bernstein In Flight And T.S. Eliot In Motion At Bard Summerscape 2018: An Interview With Gideon Lester

Posted by Yan Chen | 19th Jul 2018 | Dramaturgy, Festivals, Interview, Musical Theatre, New York, Theatre and Dance, United States of America |

Gideon Lester is Artistic Director for Theater and Dance at the Richard B. Fisher Center for the...

“One Small Step” At Ice Factory Festival

Posted by Jack Wernick | 13th Jul 2018 | Festivals, New York, Review |

Downtown theater pioneer the New Ohio Theatre has emerged with its annual summer festival called...

Brecht Comes Home To Santa Monica With City Garage’s “Arturo Ui”

Posted by Christine Deitner | 12th Jul 2018 | Los Angeles, Review, Translation, United States of America |

There are plays that feel timeless because they strike familiar chords and speak to something at...

“Carmen Jones”: A Classic Reborn

Posted by Brandon Webster | 6th Jul 2018 | Musical Theatre, New York, Review, United States of America |

It is then, a refreshing surprise – as New York theatre recovers from the inundation of Broadway super-musicals that were too big to succeed – that Carmen Jones has returned in a razor-sharp 95-minute John Doyle production at the Classic Stage Company.

World Premiere: “Lonesome Blues”

Posted by Brandon Webster | 1st Jul 2018 | Musical Theatre, New York, Review, United States of America |

If you travel along the New York City underworld of trains and platforms, you’re likely to see a...

“Teenage Dick”: A Study Of The Stereotypical Villain

Posted by Madison Parrotta | 30th Jun 2018 | New York, Review, Theatre and Disability, United States of America |

Produced in conjunction with Ma-Yi Theater Company, the world premiere of Teenage Dick at The...

“Sea Of Common Catastrophe” At Irondale Center

Posted by Jack Wernick | 29th Jun 2018 | Devised Theatre, New York, Review, United States of America |

Irondale Ensemble Project, a self-defined “think tank” in Brooklyn’s bustling Fort Greene nabe is...

Rogue Productions Bounces Back From Hurricane Harvey With “I Love You Because”

Posted by Trevor Boffone | 24th Jun 2018 | Musical Theatre, News, United States of America |

After a successful run of Matt & Ben in January 2017, Houston theatre company Rogue...

“This Is Modern Art”: A Scatterplot

Posted by Rachel E. Diken | 23rd Jun 2018 | Chicago, New York, Review, Theatre and Art, United States of America |

This Is Modern Art, originally commissioned by Chicago’s Steppenwolf Theater, makes its New York...

New Musical “Pedro Pan” Speaks to the Plight of Immigrant Children

Posted by Trevor Boffone | 22nd Jun 2018 | Festivals, Musical Theatre, New York, News, Theatre for Young Audiences, United States of America |

When one thinks of Latinx narratives within the landscape of musical theatre, West Side Story,...

Make Rome Great Again. A Revival Of Duerrenmatt’s “Romulus The Great” In New York

Posted by Donald Brown | 22nd Jun 2018 | New York, Review, Theatre and Politics, Translation |

Review of Romulus the Great, Yangtze Repertory Theatre The Roman empire is under threat and is...

Metropolis Visits “Avenue Q” In Female-Led Production

Posted by Kristin Tomecek | 22nd Jun 2018 | Chicago, LGBTQ Theatre, Musical Theatre, Review, United States of America |

Memory lane took on the form of a shabby New York City block dubbed “Avenue Q” for...

Through A New Zealander’s Eyes: The Subjunctive World, Notes From Venice Beach

Posted by Hilary Halba | 21st Jun 2018 | Acting, Essay, New Zealand, United States of America |

After a thirteen-hour flight from Auckland, New Zealand, I am in Jim Morrison country–or so I...

Preview: OperaHub’s “DIVAS;” Calling Out The Opera Industry In A Love Letter To The Opera Art Form

Posted by Katrina Holden-Buckley | 21st Jun 2018 | Boston, Interview, Theatre and Opera, United States of America |

This week, OperaHub’s original DIVAS, a “World Premier play with opera music” opens June 21st and...

Interview With Thierry Thieû Niang on Theatre for Children

Posted by Nicole Birmann Bloom | 18th Jun 2018 | France, Interview, Theatre for Young Audiences, United States of America |

On June 16 and 17, Invisible Dog Art Center in Brooklyn will present To The Heart, a performance...

“Exquisita Agonía” At Repertorio Español

Posted by Jack Wernick | 16th Jun 2018 | New York, Review, United States of America |

Repertorio Español, New York’s preeminent venue for Spanish language theatre, continues its 50th...

Vanyamachine: Mallory Catlett’s “This Was The End”

Posted by Jessica Rizzo | 15th Jun 2018 | New York, Review, Russian Theatre Abroad, Transmedia, United States of America |

An assemblage of intriguing aesthetic strategies, what Mallory Catlett’s This Was The End lacks in...

Afro-Latinx Theatre, Front And Center: An Interview With Guadalís Del Carmen

Posted by Trevor Boffone | 15th Jun 2018 | Festivals, Interview, Playwriting, United States of America |

Born and raised in Chicago by Dominican parents, Guadalís Del Carmen is a playwright, actress, and...

Boston Lyric Opera’s “Trouble In Tahiti”

Posted by Katrina Holden-Buckley | 10th Jun 2018 | Boston, Review, Theatre and Opera, United States of America |

Boston Lyric Opera truly transformed the North End’s DCR Steriti Ice Rink into a 1950s Cuban style...

Welcome To The Murder House

Posted by John Smythe | 8th Jun 2018 | New Zealand, Review, United States of America |

In Welcome to the Murder House, Alfred’s story is told, in the popular vaudeville style of the day, by a group of prison inmates. For them, Southwick is a hero, given their shared belief that execution by electrocution will be more humane than hanging. And, as with the development of all high quality theatre, it takes a lot of trial and error to get it right.