Criticism

David Dudley reflects on Steel Hammer and the John Henry myth, at the Krannert Center in Urbana, Illinois.

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.

Critic Fabiana Cabral advocates the need for more accessible training for writing theatre criticism.

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. 

Jonathan Mandell reflects on a recent experience at a Grateful Dead concert, and asks if theatres can adopt some similar strategies for audience engagement.

Holly L. Derr on Destiny of Desire by Karen Zacarías, Animal by Claire Lizzimore, Queens Girl in the World by Caleen Sinette Jennings, Women Laughing Alone with Salad by Sheila Callaghan, and Uprising by Gabrielle Fulton, all part of the Women’s Voices Theater Festival in Washington, DC.

Jonathan Mandell explores how several recent works on New York Stages portray history and the questions they raise. 

Effy Redman on Love, Sex, and Death in the Amazon by Robert Murphy, the inaugural production of Collider Theater Company, in New York City.

Steve Lyons redefines a good theatre review as one that helps readers determine if a play is one they’d be interested in attending. 

Donald Sanborn on the evolution of Gigi from novella to film, film to stage, and stage and to stage once more.

Steele Campbell on HerSelf Rising by Girls on Trapeze at Sideshow Fringe Festival in Nashville, Tennessee.

Manuel Betancourt on the development journey of Tony-winning Broadway musical Fun Home by Lisa Kron and Jeanine Tesori.

Brett Aresco on Radical Evolution’s production of The Golden Drum Year by Beto O’Byrne.

Patricia Davis interviews Ron Menzel, an actor in Studio Theatre's production of Lucy Kirkwood’s Chimerica in Washington, DC.

Marcina Zaccaria on the 72nd Annual Venice Film Festival and the intersection of theatre and film acting.

Martha Steketee explores the lens and artistry of Jody Christopherson in “Necessary Exposure The Female Playwright Project: Portraits of Playwrights Who Identify as Female” in New York City.

Michael Lueger on Gordon Edelstein’s production of A Moon for the Misbegotten at the Williamstown Theatre Festival in Massachusetts.

Mackenzie Ward considers a more hopeful interpretation of the hopeless landscapes of Samuel Beckett.

Susan W. Kemp on The Moisture Festival in Seattle, Washington.

Christopher Goodson on Rose Cano’s adaptation, Don Quixote: Homeless in Seattle, produced by eSe Teatro in Seattle, Washington.

Neal Reynolds on American Theatre Company’s Youth Ensemble production of Greensboro: A Requiem by Emily Mann in Chicago, Illinois.

Patrick Gaughan interviews Andy Field, co-director of Forest Fringe in Edinburgh, Scotland. 

Tiffany Ana López on the LTC’s Carnaval of New Latina/o Work hosted by the Theatre School at DePaul University July 23-25, 2015 in Chicago, Illinois.

Jonathan Mandell looks at the recent cell phone fury, especially among prominent performers, and offers a different take on theatre etiquette.