Marcina Zaccaria discusses Rolando Sanz’s role in producing and presenting the opera I Am Anne Hutchinson/I Am Harvey Milk by Andrew Lippa.

Marcina Zaccaria speaks with Fiddler on the Roof lyricist Sheldon Harnick as he approaches his ninety-second birthday.

Marcina Zaccaria on Jody Christopherson’s Greencard Wedding at Dixon Place in New York City.

Marcina Zaccaria on the 72nd Annual Venice Film Festival and the intersection of theatre and film acting.

The author explores theatre and aerial dancing through the work of Karen A. Fuhrman's company, Grounded Aerial. 

Dreams on the open sea are part of a larger narrative as Natasha Lee Martin, an actress, director, and teacher, performs in Confessions of a Synesthetic Sailor at TheaterLab in New York City.

Ariza spoke in depth about her work in an interview with Diana Taylor, Director of the Hemispheric Institute of Performance and Politics at the Martin E. Segal Theatre Center at The Graduate Center at CUNY. She discussed the nature of peacekeeping and cultural change in Colombia and the difficulties she encountered at the beginning, including getting shot at and thereafter having to wear a bulletproof vest.

Marcina Zaccaria looks at The Bolshoi Theatre production of Don Quixote performed at the 2014 Lincoln Center Festival.

Theater is always a place for community. Often, a festival can provide a rigorous forum to investigate issues surrounding community. What is the need for stories? What is collective storytelling? How do we appreciate the role that performance plays in our ever-changing, cultural landscape? How is the moment created and for whom? How do we define a cultural landscape that includes forms, images, and ideas? Do ideas and images succumb to the whims of the moment or do they persist over time?

Marcina Zaccaria writes about Elizabeth Hess' Dust to Dust, a one-woman show responding to the the violence toward woman during the 1992-1995 war in Bosnia.