United States of America

Music At The Anthology

Posted by Janelle Lawrence | 17th May 2018 | Festivals, New York, Review, United States of America |

Music At The Anthology, also known as MATA, is in its 22nd year of commissioning and presenting...

“Assembled Identity”: World Premiere

Posted by Brandon Webster | 15th May 2018 | Devised Theatre, New York, Review, Transmedia, United States of America |

There is a rather iconic scene in The Devil Wears Prada where Miranda (played by Meryl Streep)...

Bonnie Marranca: “It’s Up To Every New Generation To Create Its Own Institutions, Critical Discourses, And Working Methods.”

Posted by Cristina Modreanu | 14th May 2018 | Interview, New York, Romania |

Interview by Cristina Modreanu with the occasion of the first edition of Bonnie Marranca’s essays...

“The Women Who Mapped The Stars”: The Struggle to be Acknowledged

Posted by Jane Baldwin | 13th May 2018 | Boston, Review, Theatre and Gender, Theatre and Science, United States of America |

The Women Who Mapped the Stars is a new work by Joyce Van Dyke, a rising dramatist with several...

Unpacking The Role Of Women In Ibsen’s “The Enemy Of The People”

Posted by Martha Steketee | 12th May 2018 | Adaptation, Chicago, Dramaturgy, Interview, Theatre and Politics, Translation, United States of America |

Goodman’s Resident Dramaturg on how her work gives texture and specificity to a production....

The Cambridge Chamber Ensemble’s “Cendrillon” Showcases Talent But Misses Its Mark

Posted by Kristin Tomecek | 11th May 2018 | Boston, Review, Theatre and Opera, United States of America |

The Cambridge Chamber Ensemble debuted their reimagined production of Pauline Viardot-Garcia’s...

Composer-in-Residence Clint Borzoni

Posted by David Vernon | 11th May 2018 | Interview, LGBTQ Theatre, Theatre and Opera, United States of America |

My current collaborator, John de los Santos, approached me about Adonis after I had just finished the first orchestral reading of my first full length opera, Antinous and Hadrian, which was originally conceived of in the American Opera Projects Composer and the Voice Series and later commissioned by Operamission. John told me he had this libretto that he had constructed based on select poetry by American poet, Gavin Dillard. I asked “what are we composing this for?” to which John replied, “I don’t know.” But, it was his initial passion, and he came up with the concept to create this new form of opera. However, this piece, at first, was a stretch for me as a composer.

Angels (And Demons) Of History In EgoPo’s “Lydie Breeze” Trilogy

Posted by Jessica Rizzo | 11th May 2018 | Philadelphia, Review, United Kingdom |

Jessica Rizzo sees the 10-hour, marathon performance of EgoPo Theater’s Lydie Breeze trilogy...

The Problem Of The Unmarried Woman In “Old, New, Borrowed, Blue”

Posted by Katrina Holden-Buckley | 11th May 2018 | Boston, Review, Theatre and Opera, United States of America |

Metrowest Opera had a full audience in the BCA’s smaller space on Saturday evening for their...

“Summer: The Donna Summer Musical” – Setting The Record Straight

Posted by Brandon Webster | 10th May 2018 | Musical Theatre, New York, Review, United States of America |

As we’ve settled into the 21st century, pop-culture vestiges of the 20th century have fallen by...

At Carnegie Hall, Tianqi Du Chases After Bach’s Goldberg Variations

Posted by Kathy Tao | 8th May 2018 | New York, Review, Theatre and Opera, United States of America |

Naturally, I was eager to see how Du, a progressive, boundary-pushing artist, would interpret Bach’s Goldberg Variations, the epitome of Baroque purism. Inside Carnegie Hall, the evening began promisingly, with an elegantly shot video, reminding us again of Du’s multi-disciplinarian identity. For those in the audience unacquainted with the work, Du’s video passionately argues the significance of Bach’s Goldberg Variations, tying the threads both musically and mathematically. A voiceover narration by Du describes the two years he spent at Boston’s New England Conservatory, devoted to unlocking the secrets of Bach, and ends on the cryptic statement that the Goldberg Variations rescued him “from the edge of darkness.”

Psychological Spaces, #Metoo, And “The Crucible:” A Conversation With Set Designer Andrew R. Cohen

Posted by Michael Schweikardt | 6th May 2018 | Design, Interview, United States of America |

The Crucible (1953) is Arthur Miller’s harrowing play about the 1692 Salem witch trials. Set in...

“SeagullMachine” – The Assembly Mixes Chekhov and Müller

Posted by Heather Waters | 5th May 2018 | Acting, New York, Review, United States of America |

The lights never go down on the audience, the result being we all play a part in the production, and there are no spectators. La MaMa E.T.C. is a beautiful, decrepit, wonderfully haunted space; to redefine audience roles and do away with spectators is an adventurous, fun design for this stage.