Criticism

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.

verity healey, who spent time in Kosovo for its Theatre Showcase last October, discusses the precarious nature of Kosovo’s independent theatre sector and shares her thoughts about the plays she saw while visiting.

Priscilla Solis Ybarra reflects on her experience watching Virginia Grise’s a farm for meme at home, during the pandemic, with her eighty-two-year-old mother whose life shares parallels with the story in the play.

Playwright and environmentalist Alice Stanley Jr. shares her experience of Capital W’s newest immersive theatre piece, Fire Season—a play about climate change that took place in the Santa Monica Mountains during this year’s wildfires.

Dr. Ayshia E. Stephenson revisits the 2016 Signature Theatre production of The Death of the Last Black Man in the Whole Entire World, which she believes stands as a testament to why Black theatre matters and is essential to resisting white supremacy.

Jean Tarbox discusses Wesleyan University’s Zoom adaptation of The Method Gun as a radical invention that invited audiences to see and interpret reality on a deeper, more perceptual basis.

Rebecca Salzhauer writes about Finish the Fight, a piece of online theatre that reminds viewers how theatre is a communion, a two-sided contract between storyteller and story-hearer, bound by the terms of being alive.