United States of America Archives | Page 3 of 35

Krysta Rodriguez on Her Latest Stage Role in “Seared” and Her Collaboration with Theresa Rebeck

Posted by Holly Rosen Fink | 14th Dec 2019 | Acting, Interview, New York, United States of America

If you’re a culture vulture and are interested in TV and theater, most likely, you know a...

“History of Violence” and How Your iPhone is a Culprit

Posted by Jonathan Kalb | 12th Dec 2019 | France, Germany, LGBTQ Theatre, New York, Review, Theatre and Politics, United States of America

First of all, don’t be put off by the pompous, academic title. Thomas Ostermeier’s...

Ritualizing Identities: “SUGA” by Travis Coe at Double Edge Theatre Company in Ashfield, Massachusetts

Posted by James Montaño | 11th Dec 2019 | Review, Theatre and Religion, United States of America

At the center of the large wooden barn is a makeshift altar, wrapped in gauze and adorned in...

Tom Morton-Smith’s “Ravens: Spassky Vs Fischer” at the Hampstead Theatre: Real-Life Cold War Chess Match

Posted by Aleks Sierz | 8th Dec 2019 | Documentary Theatre, Playwriting, Review, United Kingdom, United States of America

Today, we call it soft power. During the Cold War it was more like success at any cost—and by any...

Vampire-Hunting Hijinks: “Police Cops: Badass Be Thy Name” at Soho Playhouse

Posted by Andrew Agress | 7th Dec 2019 | New York, Review, Theatre and Film, United States of America

If you love theatre, namely the experimental kind, I highly recommend a trip to the Edinburgh...

“The Great Leap” at Pasadena Playhouse

Posted by Christine Deitner | 5th Dec 2019 | Los Angeles, Review, United States of America

Saul: It is always your turn. Every time you are on that court, it is always your turn. Wen...

“An Iliad:” A Retelling of the Horrors of War Beyond Troy!

Posted by Jane Baldwin | 4th Dec 2019 | Adaptation, Boston, Review, United States of America

Denis O’Hare and Lisa Peterson created Homer’s Coat, a theatre company that explores...

“Key Largo” at Geffen Playhouse

Posted by Christine Deitner | 3rd Dec 2019 | Las Vegas, Los Angeles, Review, Theatre and Film, United States of America

Mr. D’Alcala: If the time ever comes when your kind can walk a city street in daylight with...

The World Premiere of “Bad Habits” at Ruskin Group Theatre Co.

Posted by Christine Deitner | 3rd Dec 2019 | Los Angeles, Review, United Kingdom

’Tis the season for holiday-inspired and joy-infused entertainment and Ruskin Group Theatre Co. in...

I Can’t Hear You in the Dark: How Scenic Designer Sean Fanning Negotiates the Deaf and Hearing Worlds

Posted by Michael Schweikardt | 29th Nov 2019 | Design, Interview, Los Angeles, Theatre and Disability, United States of America

Scenic designer Sean Fanning recently designed a beautiful and provocative set for Jack Thorne’s...

“An Illiad:” A Retelling of the Horrors of War Far Beyond Troy!

Posted by Jane Baldwin | 26th Nov 2019 | Boston, Review, Theatre and Politics, United States of America

Denis O’Hare and Lisa Peterson created Homer’s Coat, a theatre company that explores ancient...

Speakeasy Presents “Admissions:” A Play About Confused Liberals

Posted by Jane Baldwin | 25th Nov 2019 | Boston, Review, Theatre and Politics, United States of America

Admissions is the third work of Joshua Harmon to appear at SpeakEasy in Boston’s South End. The...

The Great Tamer – A Greek Choreographer’s Bam Debut

Posted by Antigoni Gaitana | 23rd Nov 2019 | Greece, New York, Review, Theatre and Opera, United States of America

It was a devouring mouth or a generative source. The whole performance was a dystopian collage of subconscious associations of the creator. Some of them were personal and some of them were direct references to archetypes and well-known artworks. The non-verbal narrative was constituted by very inventive imagery which was underlined by an ever-present black humor.

“The House of the Spirits” at The Cervantes Theatre

Posted by Aleks Sierz | 22nd Nov 2019 | London, Review, United Kingdom, United States of America

South America’s trauma in the second half of the twentieth century can be summed up by one phrase:...

“All Hallows Eve” The Musical

Posted by David Vernon | 19th Nov 2019 | New York, Puppetry, Review, United States of America

Composer Paul Rudolph accompanies the cast through a score that is perfectly in sync with the story line. Delightfully, it is a musical score that reminds it’s listener that this is how Musical Theatre “really works.” Both Haley and Lott keep up the musical pace with Barnhart.