Aesthetics

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.

Patrick Gaughan interviews Under the Radar Festival Co-Director, Meiyin Wang.

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.

Brad Rhines reviews Cosmin Chivu’s revival of Tennessee Williams’ The Mutilated at the Contemporary Arts Center in New Orleans.

Rob Onorato considers the differences between shock and surprise on stage, and the effects of violence and traumatic theatre in columbinus and Gloria.

In this fourth installment, Director Damon Krometis discusses the implications of spatial relationships between performers and audiences.

Scenic designer Joe Klug considers how the proscenium stage impedes engagement and connection with an audience.

Dr. Jorge Huerta reflects on the birth, present, and enduring legacy of El Teatro Campesino on its fiftieth anniversary.

David Bruin on Teatro Patologico’s production of Medea at La Mama in New York City. 

Brett Aresco on Eliza Bent’s ode to poop, Toilet Fire, in New York City.

Jeff Chang on Detroit-based Complex Movements’ Beware of the Dandelions, a narrative, concert, visual installation, architectural piece, and convening space to distribute revolutionary ideas and activate creative ecosystems and economies of change.