Allison Vanouse writes about Sleeping Weazel's 2014 festival of plays, trans cabaret, and solo performance coinciding with Boston Pride Week.

Allison Vanouse reviews a performance by Jeffrey Gibson and Patty Chang at Boston's Museum of Fine Arts, and responds to other critics of the piece.

Allison Vanouse continues her look at productions from university students in Boston. In this post she reviews Steven Berkoff's adaptation of Kafka's Metamorphosis, directed by Elaine Vaan Hogue

Allison Vanouse looks at student theatre — which is infrequently reviewed — choosing to critique Conspiracy (an adaptation of the 2001 HBO film), from the Harvard Radcliffe Dramatic Club.

Allison Vanouse reviews the 2013 Actor's Shakespeare Project production of Romeo and Juliet, directed by Allyn Burrows and Bobbie Steinbach at the Strand Theatre in Dorchester.

Allison Vanouse writes about the work of Shen Wei, and the modern semiotics of the lift in dance.

Allison Vanouse writes about Pere Ubu, and how their experimental rock channels the ghost of Ubu Roi.

Allison Vanouse writes about Disney Theatrical Enterprise's approach to theatermaking, and how high art and children's theater meet in their regional theater collaboration: The Jungle Book.

Allison Vanouse writes about Pavement, an adaptation of the 1991 film, Boyz N the Hood at Jacob's Pillow Dance.

Boston is a sports city. It also is an arts city. Allison Vanouse takes a look at the similarities including how both mediums and how they share time and space principles.

Allison Vanouse reviews Lucy Watson's Re-Present Me, a performance art piece meditating on the artist's relationship with the supernatural.

Allison Vanouse writes about DEAD ART STAR at Bathaus, and how social media documentation interacts and intersects with performance art and its goals.

Allison Vanouse examines Shakespeare & Company's start to their history cycle: Richard II. She argues that Shakespeare's history plays work best when they speak to our contemporary concerns.

Allison Vanousewrites about the premiere production of Adam Roberts' Giver of Light, an opera based on the life of the 13th-century Persian poet Rumi.

Brown Box Theatre Project’s production of The Nina Variations cast three actresses as Nina. Allison Vanouse constrasts Steven Dietz's play with other works that explore repetition and deconstruct classic plays.

Allison Vanouse reviews "Odd Spaces" at the Boston Museum of Fine Arts. What is to be gained, she asks, in finding new ways to perform in odd spaces?

Allison Vanouse writes about Boston Ballet's 2013 triple-bill of George Balanchine’s Serenade and Symphony in C, and Wayne McGregor’s Chroma

Allison Vanouse profiles Near Death, a performance art presentation at Boston's Cyclorama.