Criticism

Paul Adolphsen covers the 40th anniversary of the National Arts Festival in Grahamstown, South Africa, looking at the works exploring legacy and South Africa's first democratic elections.

Patricia Davis reviews Hub Theatre’s Abominable, by Helen Pafumi, discussing how the play looks at violence and bullying.

Cory Hinkle reviews Mickey Birnbaum's Backyard, which used wrestling both literally and metaphorically to create "lurid storytelling" 

Dani Snyder-Young writes about Conor McPherson’s new version of August Strindberg’s The Dance of Death, at the Writers Theatre.

Brant Russell writes about The World's Fair Play Festival in 2014 at the Queens Theatre, which premiered 12 short plays about the 1964 and 1939 World's Fairs, where those fairs happened.

Jonathan Mandell writes about seven tropes of the NY Fringe Festival, highlighting productions which fit into the reoccuring genres.

Martha Steketee writes about Daniel Talbott and Samantha Soule looking at the work and companies they've created in New York's off-Broadway scene since meeting at Juilliard in 1998.

In his essay, Josh Sobel investigates interactive theatre.

Allison Vanouse writes about Sleeping Weazel's 2014 festival of plays, trans cabaret, and solo performance coinciding with Boston Pride Week.

Alice Stanley Jr. reviews Chris Danowski’s endofplay/7, a wild ride of gender exploration, narcissism, and longing

Dani Snyder-Young writes about Generation Sex, a devised piece from Teatro Luna looking at misogyny, violence, Latina identities, modern femininity, and more.

Morgan Gould reviews The Sonic Life of a Giant Tortoise, and also interacts with the idea of revealing her tastes as a critic before reviewing.

Patricia Davis interviews DC-based director Stevie Zimmerman, discussing casting, directing styles, and the challenges of new work.

Mark Jackson reports on the "format and the values" he witnessed in Romania at the Sibiu International Theatre Festival, which is the third largest theater festival in the world.

Bertie Ferdman writes about her experience at Speakeasy Dollhouse, and the context of the production's creation.

Dani Snyder-Young writes about the 2014 Chicago Home Theater Festival, which places participatory performances inside private homes.

Martha Steketee interviews dramaturg Jill Rafson about the process of developing The Mysteries, described as “48 playwrights and 54 actors retelling the entirety of the Bible in a single night.”

Megan Reilly sheds insight on the gamification of theatre.

Alice Stanley Jr. writes about Red Planet Respite by Katherine Harroff a play about "the first luxury space vacation to Mars in 2044" and the balance of its value as entertainment and as encouragement for audiences to engage with science and education

Chris Garza reviews Theatre Unbound’s Silkworms (a nun play) and takes a look into the director Isabel Nelson's devising process.

Jonathan Mandell looks at the 2013-2014 Broadway season and the six productions which featured men cross-dressing

Holly L. Derr writes about SCRC's 2014 Pacific Playwrights Festival, and the goals of the organization's new play development initative.