Bertie Ferdman looks at En Garde Arts’ production of Red Hills, which explores the question: “Who has the right to tell what stories?”

Bertie Ferdman chats with New Saloon Theater Co. about their recent production, MINOR CHARACTER: Six Translations of Uncle Vanya at the Same Time at The Invisible Dog in Brooklyn, New York.

Bertie Ferdman interviews Ilan Bachrach, founder and Artistic Director of Mass Live Arts, a festival of contemporary and experimental performance in Great Barrington, MA.

The Dreary Coast is a site-specific immersive work that took place in Brooklyn’s Gowanus Canal, and used elements of Greek and Roman mythology, Dante’s Inferno, black metal music, and the canal’s actual history to journey its audience through one of the most polluted waterways in the United States.

Bertie Ferdman interviews Anne Hamburger about Basetrack Live, a multimedia theatre production inspired by Basetrack: One-Eight, a web project created in 2010 by photojournalists embedded with US Marines fighting in southern Afghanistan.

Bertie Ferdman writes about her experience at Speakeasy Dollhouse, and the context of the production's creation.

Bertie Ferdman reviews Mallory Catlett's adaption of Uncle Vanya featuring actors in their sixties and seventies.

Bertie Ferdman recounts productions from the 2014 UTR and COIL Festivals.

Bertie Ferdman writes about the use of immersion in Roadskill and La Ruta, and how this trend in storytelling can help us create political theater that creates empathy and action.

Bertie Ferdman talks about The Quiet Volume and Hidden Stories, two interdisciplinary works that challenge audiences perceptions of time and space.