Criticism

Srila Nayak reviews the American Repertory Theater’s production of William Shakespeare’s The Tempest, and highlights how the production uses music, color-consious-casting, spectacle, and stage-magic.

Jonathan Mandell writes about the life of prolific costume designer Carrie Robbins, and her new ambitions as adaptor and playwright.

Lily Janiak and Artistic Director of Cal Shakes Jon Moscone talk about the impact of Janiak’s criticism of the play American Night at California Shakespeare Theater and the controversy it stirred.

Patricia Davis reviews the Constellation Theatre's production of The Love of the Nightingale by Timberlake Wertenbaker

Allison Vanouse reviews a performance by Jeffrey Gibson and Patty Chang at Boston's Museum of Fine Arts, and responds to other critics of the piece.

In accepting the single story that "God’s Work" does not belong in a downtown Chicago theater, do we contribute to the silencing of the voices of our youth? I believe "God’s Work" is just as worthy of embodiment on stage as "Our Class" or any other current Chicago production, regardless of the age of the ensemble members telling it.

Lily Janiak discusses the world premiere of Stuart Eugene Bousel's adaptation of Rat Girl, a memior by Kristin Hersh, lead singer of Throwing Muses.

Dani Snyder-Young writes about the Chicago-based Albany Park Theatre Project, a youth theatre ensemble. She reviews APTP's 2014 remounted production of God's Work, at the Goodman Theatre.

Jonathan Mandell looks at the phenomenon of "snubs" in theatre awards today and throughout history, touching on the complexities of nominating committees.

And although I’m proud of the production and of the nearly-all Latina/o creative team that gave Mariela en el Desierto an authentic voice, an issue arose as the last weekend of performances approached: No critics from the periodicals in the Atlanta area had attended or reviewed the show.

Alice Stanley Jr. writes about an event she attended, responding to the suspension of an Arizona high school drama teacher that included Albee's who in his curriculum.

Jonathan Mandell overviews five eclectic works by Texas playwright Kirk Lynn.

Dani Snyder-Young writes about the intentional diversity she witnessed in five of the 2014 Humana Festival productions.

Patricia Davis writes about The Freedom Theatre in Palestine, focusing on its controversial work with youth and its history, which includes the assassination of their founder.

Bertie Ferdman reviews Mallory Catlett's adaption of Uncle Vanya featuring actors in their sixties and seventies.

Bess Rowen interviews Christopher Andrew Loar of the New York Neo-Futurists, creator/director of The Complete & Condensed Stage Directions of Eugene O’Neill.

Jonathan Mandell looks at reocurring devices and techniques of spectacle in Broadway productions.

Matt McGeachy writes about Modern Times Stage Company's Forgiveness: A Theatrical Poem, an intense movement piece exploring the dialetic between forgiveness and forgetting. 

Alice Stanley Jr. discusses her experience at a workshop of Ariel Luckey's solo performance Amnesia, and the talkback which followed.

Dani Snyder-Young reviews the (now closed) Next Theatre Company production of Kirsten Greenidge’s Luck of the Irish in the context of Evanston, Illinois

 looks at how Magic Theatre's initative for young theatre-goes went beyond a discount, and how the premiere of Taylor Mac's Hir at the Magic complemented their earlier production of Buried Child.

W.M. Akers looks at David Henry Hwang's Kung Fu, a bio-play about the life and career of Bruce Lee

Allison Vanouse continues her look at productions from university students in Boston. In this post she reviews Steven Berkoff's adaptation of Kafka's Metamorphosis, directed by Elaine Vaan Hogue