Adaptation and Translation

Amelia Parenteau deconstructs the use of technology in The Builders Association’s production of Elements of Oz, an adaptation of The Wizard of Oz, presented at 3LD in New York City.

Jonathan Mandell reflects on what makes immersive theatre, through the lens of Inside the Wild Heart, Group .BR’s immersive show about the late Brazilian writer Clarice Lispector.

Rob Oronato on Taylor Mac’s A 24-Decade History of Popular Music, a “communal, intelligent, erotic, participatory, spectacular performance art concert; a marathon survey dedicated to destroying through exposure the racism, patriarchy, supremacy, and fascism suppressing the fabulosity of all our country’s different beleaguered Others over the years.”

Sound designer Victoria Deiorio reflects on her experience of Complicite’s The Encounter and its ingenious use of sound. 

Dramaturg Maria Patrice Amon interviews Playwright Herbert Sigüenza about his comic influences, and Manifest Destinitis, his adaptation of Molière’s The Imaginary Invalid.

Leigh Bienen on the Goodman Theatre production of 2666 which adapts Roberto Bolaño’s nine-hundred and something page novel for the stage.

Michael Rohd and Maureen Towey share an excerpt from their new book The Penelope Project: An Arts-Based Odyssey to Change Elder Care, writing about creating and rehearsing a show in a retirement community.

Frequent overseas contributor verity healey reports on the Belarus Free Theatre workshop exploring the intersection of how a true story about mental illness is portrayed on stage.

David Dower talks with Tony Taccone about his adaptation of It Can’t Happen Here at Berkeley Rep, and what it means for an institution to program a new work that speaks directly to our present moment.

Beatriz Afonso Santos describes her process of exploring theatre and theatremaking techniques that involve all the senses. Read it in English and in Spanish!

David Bruin on the world premiere of Demolishing Everything with Amazing Speed, futurist puppet plays by Fortunato Depero, translated, designed, and directed by Dan Hurlin at Bard SummerScape.

Megan Patterson on the New York Theatre Workshop production of the musical Hadestown by Anaïs Mitchell, developed with and directed by Rachel Chavkin.

Danielle Feder responds to the critical reception of the Broadway show Waitress.

Edward Einhorn describes his experiences as a director, adaptor, and translator, and the similarities and differences between them.

Bertie Ferdman chats with New Saloon Theater Co. about their recent production, MINOR CHARACTER: Six Translations of Uncle Vanya at the Same Time at The Invisible Dog in Brooklyn, New York.

David Levy discusses Noah Diamond’s adaptation and revival of I’ll Say She Is, the musical debut of the Marx Brothers. 

Ramesh Meyyappan and Gavin Glover discuss their wordless adaptation of Madame Butterfly, replete with kites and puppets, and their hopes for hyphenate theatremakers.

Sara Zweig on The Robber Bridegroom with book and lyrics by Alfred Uhry, and music by Robert Waldman at The Roundabout Theatre Company in New York City.

Director Cristy Andrea Altamirano seeks thoughts on an upcoming production of The Tempest.

Sarah Matusek on the New York City production of This Time by Sevan K. Greene, adapted from the memoir Not So Long Ago by Amal Meguid, directed by Kareem Fahmy.

Jess Barbagallo on Tragedy of Spades by Liza Birkenmeier, directed by Katherine Brook at University Settlement in New York City.

Jonathan Mandell explores the gender politics of Broadway offerings such as American Psycho, Waitress, Eclipsed, The Color Purple, and more.

Jenna Gerdsen on a reinvention of wayang kulit—the ancient Southeast Asian puppet theatre form.

In this installment, Matthew Minnicino discusses gender politics in Shakespeare’s work, and productions of King Lear with women starring in the title role.