Aesthetics

Olivia Rubino-Finn on the Broadway production of Arthur Miller’s A View from the Bridge, directed by Ivo van Hove. 

In this installment, Playwright and poet Sabina England shares her process for creating performances for deaf and hearing audiences.

In this first installment, C. Fischer starts their series, exploring the intersections of gender, drag performance, and acting.

Manuel Betancourt on The Royale by Marco Ramírez at Lincoln Center Theater in New York City.

Andrew Bailes interviews director Monty Cole about his all-male, all-black production of Eugene O’Neill’s The Hairy Ape in Chicago, Illinois.

Caridad Svich considers spectatorship and audience in anticipation of the 10th NoPassport “Dreaming the Americas” theatre and performance conference on Monday, March 14, 2016.

Marcina Zaccaria on Jody Christopherson’s Greencard Wedding at Dixon Place in New York City.

Translator Henning Bochert talks with playwright Andrea Stolowitz who was recently in residence in Berlin at the English Theatre Berlin.

James McMaster on the politics of Hamilton and the need for a musical theatre revolution.

Ricky Young-Howze challenges theatre companies to rethink the conventional aesthetic of silent audiences and find creative ways to accommodate audience members with invisible disabilities.

Amauta Marston-Firmino on Royal Osiris Karaoke Ensemble’s The Art Of Luv (Part 1): Elliot at the Under The Radar Festival in New York City.

Jonathan Mandell explores five common elements in immersive theatre, and what makes immersive theatre successful.

John Becker contemplates the role of artists in this contemporary, polarized political climate.

In this installment, Eli Keel discusses Louisville Championship Arm Wrestling and its non-traditional approach to live theatre.

Paul Zimet on the intersection of his volunteer work as a mediator in Manhattan and Brooklyn civil and criminal courts and theatre.

In this installment, Damon Krometis discusses Natasha, Pierre, and the Great Comet of 1812 and the relationship between watching and being watched for theatregoers.

Jonathan Mandell, unable to understand several recent plays, goes to the source to explain them, and then humorously debates how important it is for theatre to be coherent. 

Peter Holm addresses the rise to prominence of club theatre and its suitability to the digital age.

Jonathan Mandell reflects on the Fall season of New York theatre through the lens of Erin Mee’s “Drama and Performance” class at NYU, in which students see and discuss sixteen shows throughout the semester.