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Recent Essays

This is a repository of written content, sorted by most recent to oldest. Enjoy!

Essay

A Conversation between Morgan Jenness, Anne Hamburger, and Seth Bockley

29 January 2017

Morgann Jenness facilitates a conversation with Anne Hamburger and Seth Bockley on their collaborative development and production of Wilderness.

Essay

Radio Podcasting as Performance Research and Species Stewardship

28 January 2017

In this second installment of her series on the Standing with Saguaros project, Kimi Eisele writes about integrating radio into her performance project.

Essay
27 January 2017

Edward Einhorn discusses the relevance of absurdist theatre.

Essay

Bringing Games to Life

27 January 2017

In this last installment, Rick Stemm shares the production process—from idea to execution—for Heroes Must Die.

Essay

an interview with SK Kerastas and Lisa Evans

26 January 2017

Regina Victor interviews SK Kerastas and Lisa Evans about their work to make theatre institutions more accessible for trans* people, on and off stage.

Essay

Audrey Cefaly’s Love is a Blue Tick Hound

26 January 2017

Meghan McLeroy digs into the refreshing representation of the American South in Audrey Cefaly’s Love is a Blue Tick Hound produced by Terrific New Theatre in Birmingham, Alabama.

Essay
25 January 2017

Thomas Schmidt on the history and model of German theatre. The first in a series of essays about the theatre in Germany.

Essay

The Lady Doth Protest (but not enough)

25 January 2017

Catherine Trieschmann attends a political rally, but has trouble not criticizing it through a theatrical lens.

Essay

Rutas de Azucar / The Siren: Sugar Routes

24 January 2017

Cherry Lou Sy reflects on Lukumi Arts’ immersive production of La Sirene: Rutas de Azucar (The Siren: Sugar Routes), which explores the black history of Cuba through José Antonio Aponte’s book of paintings.

Essay
24 January 2017

Max Cerci discusses watching Gemma Cooper-Novak’s Through the Glory Hole and What We Found There as a summer intern for The Theater Offensive, reflecting on his theatre background and his queer identity.

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