Solo Performance

Canadian theatre-artist Col Cseke considers how an artistic community seeks comfort following the tragic death of Michael Green, co-founder of One Yellow Rabbit.

Patricia Davis on Mosaic Theatre's US premiere in Washington, D.C. of I Shall Not Hate, based on the life of Palestinian doctor Izzeldin Abuelaish.

Award-winning actor and monologuist Eric Bogosian discusses how a monologue is created: from conceptualization, to free-form vocal improv, to writing, and performance.

José Torres-Tama writes about the development of Aliens, Immigrants & Other Evildoers, a sci-fi Latino noir performance about the Latino immigration experience.

Jake Rosenberg on Shotgun Players Cabaret presentation of Monique Jenkinson’s Faux Real in Berkeley, California.

Patricia Davis on Mehshaun Labrone’s Power! Stokely Carmichael at Washington DC’s Capital Fringe Festival.

Guillermo Reyes reflects on the twentieth anniversary of his play, remembers how it was received, and the challenges he came across making it.

Jess Applebaum on Sylvia Milo’s original solo performance as Nannerl, Mozart’s mostly-forgotten sister in The Other Mozart.

Patricia Davis on Teatro de la Luna’s US premiere of the Spanish language solo play, Maria Magdalen, La Mujer Borrada written and directed by Viviana Cordero.

Martha Steketee on solo performance and Dael Orlandersmith’s one-woman show, Forever.

Beatriz J. Rizk on La virgen triste by Elizabeth Mena, performed by Miami-based theatre  company Galiano 108.

Emma Wiseman on three “East Side Stories,” verbatim monologues at the Metropolitan Playhouse.

Lee Sachs contemplates the differences between theatre and film, and the corollary between film and theatre when it comes to solo work.

George Brant’s Grounded, at Olney Theatre, is a fast-paced, suspenseful, and moving one-woman show about a drone operator’s struggle to play two roles: annihilator and mother.

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.

Alice Stanley Jr. discusses her experience at a workshop of Ariel Luckey's solo performance Amnesia, and the talkback which followed.

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

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.

A Good Death examines how those who might be termed “professionals” of death matters (hospice care workers) strive to make the unthinkable into something good.

Chris Garza discusses Intermedia Arts and Freestyle Theatre’s recent production about the politics of skin in the United States, which makes the audience question the validity in saying the US is a “post-racial” society.

Taline Vokeritchian muses on the lingering, invigorating power of first loves.