David Dudley explores the story behind John Cage’s Theater Piece No. 1 and discuses SITI Company’s recent production of it, which was conceived and directed by Anne Bogart.

An interview with Elise Vigier who staged her adaptation of James Baldwin’s 1979 novel, Just Above My Head at the Maison des Arts de Creteil near Paris. / Une interview avec Elise Vigier, qui a monté son adaptation d’un roman de 1979 de James Baldwin, Harlem Quartet, à la Maison des Arts de Creteil, près de Paris.

Laura Marriott considers The Eurydice Project in Dublin in the context of Ireland’s Repeal the Eighth movement.

Carey Purcell engages the complications of sex in The Sex Myth, presented at HERE Arts Center in New York City. 

Jonathan Mandell writes about Theater of War’s production of Antigone in Ferguson in Brownsville, Brooklyn.

A fairy tale for our modern age? A consideration of Anastasia by Amanda Prahl.

What happens to Nora after she slams that door? Cristina Sanza considers A Doll’s House, Part 2.

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.

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.