Essays, Practice, Opinions

Journalin-depth stories

  • Collective Growth: Reports from the Continuum of a Playwright’s Collective Theater Trista Baldwin
    There is no one producer. There is no one managing director. There is no Boss of Us. There is no shoulder to cry on. …Workhaus Collective has changed arms and legs, losing playwright-members and gaining new ones, all while keeping the collective heart beating and eyes focused on the same goal: to produce each other’s plays for the good of playwriting and the good of the audience.
  • The World Wide Theater at Our Fingertips DCW3, Alex Ates
    The internet is the place where people everywhere can go to for information and watch art unfold in front of them. However, unlike Shakespeare’s Globe, there are no groundlings on the internet; all audiences have the same seat and the same opportunity. Your only admission ticket is a common internet connection.
  • Interview with Marcus Gardley Rebecca Stevens, Marcus Gardley
    Marcus Gardley, a thirty-six-year old, award-winning playwright-poet, is making a substantial impact on the national performing arts community. Within the last year alone, theater companies, ranging from Brooklyn to Denver, have performed Gardley’s works (including "The Box" at the Irondale Center in Brooklyn, in a Foundry Theatre production, "Black Odyssey" at the Denver Center for the Performing Arts, "The House That Will Not Stand" by the Yale Repertory Theatre, "dance of the holy ghost: a play on memory" by Center Stage Baltimore, and "The Gospel of Lovingkindness" at the Victory Gardens Theater in Chicago).
  • Finding a Theatrical Home: My Journey to IRT Theater Evan Caccioppoli
    When I really started to realize the importance of having a theatrical home—a safe and freeing environment where you can create work and challenge yourself. In finding a home base for Kid Brooklyn Productions, I had the goal of creating a developmental lab series where we could produce workshops, both public and private, a reading series, and space for devised work to happen.

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NewCritcriticism & analysis

  • The Scottish Independence Debate at the Edinburgh Festival Talya Kingston
    As a visitor at the Edinburgh Fringe, I wondered: how do you tell a story when you don’t yet know the ending? How could, and would, this dramatic moment be represented on stage, and how might the vision of artists inform the debates of a society approaching a crossroads?
  • Past, Present, and Future Collide: The 40th Annual National Arts Festival in Grahamstown, South Africa Paul Adolphsen
    The 40th anniversary of the National Arts Festival in Grahamstown, South Africa (July 3-13, 2014) was characterized by this collision of past, present, and future. It makes sense that questions of legacy and history were central to much of the 2014 festival program. Nelson Mandela’s death in December 2013 and the April 2014 celebration of the twentieth anniversary of South Africa’s first democratic elections have prompted a reflective turn in the nation’s public and cultural life.
  • The Hub Theatre’s Abominable Sheds Light on the Beast Within Patricia Davis
    "Abominable" is an affecting, thought-provoking play well suited to this moment in time, when news of hundreds of children’s deaths in Gaza fills the airwaves, along with police brutality stateside, and the last school year marked by numerous shootings nationwide.
  • Wrestling with Character and Theatricality: Thoughts on Mickey Birnbaum’s "Backyard" Cory Hinkle
    It’s almost like musical theater, but in this case when the emotions get too high, the characters don’t sing, they wrestle... The play is an interesting mix of pseudo-naturalism and larger-than-life theatricality.

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Blognews, trends, insights

  • Dreaming the Body in Exile: Reinaldo Arenas’ Persecución Eric Mayer-García
    “Dreaming in Cuban” is dedicated to performance as a way to evoke, remember, feel, create, long for, and traverse Cuba. The discussion in the blog series that follows on Cuban theater and performance includes new research on contemporary, historical, ritual, and experimental performance based in Havana and Miami.
  • Playwrights, Rewrites, Multiple Productions: Bakersfield Mist Stephen Sachs
    I remember very clearly when it suddenly hit me—that I could see it and experience it for myself—that the play would have a future life. And that happened because I was able to take part in and see three productions of my play, one after another, in different cities with different audiences, and be part of the reaction.
  • Friday Phone Call # 69: Liz Lerman David Dower
    Today my guest is the inestimable Liz Lerman. Listeners may mostly be familiar with Liz through her Critical Response Process, which is in use around the world as a system for managing the feedback process around new work. We get into her current thinking around this work, first developed when she was making work through her company, Dance Exchange. Liz is now a freelance dance and theater maker and educator and was the originator of an ambitious multi-institutional project commemorating the Civil War—a project still underway.

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