Criticism

Joseph Dunne-Howrie examines the way that three of Javaad Alipoor’s plays infuse the internet into theatrical performance, creating intersecting narratives that interrogate identity formation in the age of global interconnectivity.

The Divine Comedy Theatre Festival in Kraków, Poland explored the theme of “Polish Taboo” across its thirty-two productions this year. Howard Shalwitz, who attended the festival as part of an American delegation of artists building connections between the United States and Poland, shares his experience attending the festival.

Theatre researcher and journalist Eduardo Campos Lima discusses Grupo Tapa’s production of Papa Highirte and explores the history of the powerful play.

Daphnie Sicre discusses the way that Latinidad, Blackness, and queerness intersect in “Marimacha,” comedic coming out story about an AfroPanamanian family on their way to a wedding.

Trevor Boffone reviews Tus Tías’ The Invocation of Selena, a sketch comedy and cabaret-style show that begins by summoning Latine icon Selena and ends by eulogizing her.

Theatremaker verity healey discusses two plays from Kosovo’s 2022 Theatre Showcase that highlight Balkan women’s stories and struggles.

Theatremaker Maria Patrice Amon shares her experience watching La Carpa De La Frontera at Latinx Theatre Commons’ 2022 Comedy Carnaval and explains the significance of carpa theatre.

Talia Rodriguez details the generative process for We Are Kin to the Cove, a site-specific, community-engaged performance exploring the historical and contemporary relationships water and humanity at a cove on New York’s East River.

Melissa Lin Sturges shares her experience attending Olney Theatre Center’s bilingual production of The Music Man, which was presented in both English and American Sign Language.

verity healey describes the power and significance of independent theatre in Türkiye by sharing her experience at the theatre festival, TheatreIST.

Robert Hubbard discusses the South Dakota Shakespeare Festival production of Othello, which Tara Moses adapted and directed through an Indigenous Futurist lens. The resulting production employed its Shakespearean source text to model solidarity between Tribal Sovereignty and Black Liberation movements.

Educator and writer Marci McMahon reflects on her experience seeing Virginia Grise’s movement manifesto Your Healing is Killing Me at Cara Mía Theatre Co.

When Ricky and Dana Young-Howze began reviewing digital theatre productions early in the COVID-19 pandemic, they weren’t expecting to build a tight-knit, global community. They share their journey into the digital theatre scene and reflect on what it has taught them.

Jonathan Mandell reflects on a number of live, in-person productions that have taken place in New York City over the course of summer 2021.

Jonathan Mandell reflects on his experience of A Dozen Dreams, an art installation that began when twelve New York City-based women playwrights were asked: “What are you dreaming about right now?”

Aly Perry shares her experience of transformative public intimacy in 600 Highwaymen’s recent immersive show.

Merve Parla shares her experience with Netherlands-based dance company Club Guy & Roni’s recent production of Swan Lake, an interactive experience with both offline and online components.

Caroline Sprague reflects on Shey Rivera Ríos’s recent piece, Fire Flowers and a Time Machine, transformative justice, the nonprofit industrial complex, and more.