Criticism

Patricia Davis reviews 1st Stage's production of Stephen Temperley’s Souvenir: a Fantasia on the Life of Florence Foster Jenkins.

Jonathan Mandell looks at New Brooklyn Theatre's production of The Death of Bessie Smith, and the ways theatre sparks political change.

Holly L. Derr writes about how various playwrights have gotten hired from non-TV writing, and the diversity initatives drawing in new talent.

Dani Snyder-Young looks at the world premiere of Joel Drake Johnson’s Rasheeda Speaking, and reflects on seeing a play about race, with a mostly white audience. 

Alice Stanley Jr. reviews Orange Theatre’s experimental production of Federico García Lorca’s Blood Wedding, which incorporated contemporary multimedia technology in its warehouse set.

Allison Vanouse looks at student theatre — which is infrequently reviewed — choosing to critique Conspiracy (an adaptation of the 2001 HBO film), from the Harvard Radcliffe Dramatic Club.

Bertie Ferdman recounts productions from the 2014 UTR and COIL Festivals.

Matt McGeachy looks at the Tarragon Theatre's production of The Ugly One and how it tackles the phenomenon of the "handsome bubble"

Chris Garza reviews Muy Very Authentico, from the Minneapolis based collective Theatre Forever. Garza shares his skepticism the production as it balances between absurdity/satire and offesnive misrepresentation.

Jonathan Mandell writes about the NYC-based ReGroup Theater, and their exploration of the Group Theatre, founded by Harold Clurman, Cheryl Crawford and Lee Strasberg

Holly Derr writes about the Latino Theater Company and their role operating the Los Angeles Theatre Center, presenting multi-cultural work through partnerships with other organizaitons, and engaging local communities.

Marcina Zaccaria writes about Elizabeth Hess' Dust to Dust, a one-woman show responding to the the violence toward woman during the 1992-1995 war in Bosnia.

Allison Vanouse reviews the 2013 Actor's Shakespeare Project production of Romeo and Juliet, directed by Allyn Burrows and Bobbie Steinbach at the Strand Theatre in Dorchester.

Summer Banks offers an overview of eco-theatre and talks about her experience watching Katie Mitchell's production of Atmen.

Alice Stanley reflects on Binary Theatre Company's production of Jester's Cap, by Daniel Pennyway and making theatre that contains feminism and same-sex love for a possibly-conservative audience.

Patricia Davis reviews Ambassador Theater's production of Protest, written by the Czech Republic's first president Vaclav Havel, directed by Gail Humphries Mardirosian.

This week's conversation topic is "Critical Generosity and the Spectre of Niceness". Join us on Twitter hashtag #newplay on Thursday, January 16 at 11am PST – 12pm PST (Vancouver) / 1pm CST – 2pm CST (Austin) / 2pm EST – 3pm EST (New York) / 19:00 GMT – 20:00 GMT (London) / 8pm CET - 9pm CET (Berlin).

Lily Janiak reviews the Repurposed Theatre production of Rachel Luann Strayer’s Drowning Ophelia.

Holly L. Derr reports from The Society of Stage Directors and Choreographers's panel on diversity, and examines why diversity is such a huge talking point but still so lacking in action

Regular contributor Jonathan Mandell delves into the worlds of August Osage County and The Sound of Music Live to discuss theater's relevancy – and whether we can count televised adaptions as theater.

In hopes that 2014 will be a fruitful year for the whole theatre community, P. Carl asks for a healthy diet of positive inquiry and generosity to create three-dimensional conversations.

Parhelion, a play about false starts and disappointment, marks a very promising beginning for Little Lifeboats in Minneapolis as their inaugural production.

January 2014 marks the three-year anniversary of the launch of HowlRound. For now, we leave 2013 by offering you an assortment of quotes from the HowlRound’s NewCrit this past year.