Criticism

Jonathan Mandell writes about the inclusion of off-Broadway theaters in the Regional Theater Tony Award, and why we should end the rhetoric of us vs. New York.

Alice Stanley Jr. describes her experince at The Toch Theatre's "Improvised Book Club" and writes about how an audiences' preparation affects their involvement.

Patricia Davis reviews The Hampton Years at Theater J, and how the production's content is just as subversive as the context in which the play is being produced.

P. Carl issues an apology on behalf of HowlRound and Lily Janiak in regards to a NewCrit piece.

Matt McGreachy writes about Ronnie Burkett Theatre of Marionettes’s production of The Daisy Theatre at the Luminato Festival in Toronto.

California Shakespeare Theater, under the direction of Jonathan Moscone, has changed route from classic work to new work that explores the diverse culture and artistry of the Golden State.

Daniel Jones examines the critical reception of Rapture, Blister, Burn, and invites us to look more closely about how the gender of the critic effects the fate of the new play.

The Canadian premiere of Sarah Ruhl’s Passion Play, which probes faith, brought together a group of strangers for an immersive four hour play resulting in the possible confirmation of faith in community.

Brown Box Theatre Project’s production of The Nina Variations cast three actresses as Nina. Allison Vanouse constrasts Steven Dietz's play with other works that explore repetition and deconstruct classic plays.

Ragged Wing Ensemble explores the concept of time with the centerpiece of an ice sculpture in Time Sensitive.

In the land of film and technology, LA pushes theatre to innovate the theatrical definition of reality.

Dani Snyder-Young writes about The Miss Neo Pageant, and how - even though the ideas presented permeate much of the media about women - we still struggle with the ideas of female competition, jealousy, and distrust.

Allison Vanouse reviews "Odd Spaces" at the Boston Museum of Fine Arts. What is to be gained, she asks, in finding new ways to perform in odd spaces?

Allison Vanouse writes about Boston Ballet's 2013 triple-bill of George Balanchine’s Serenade and Symphony in C, and Wayne McGregor’s Chroma

The Encyclopedia Show Arizona, an offshoot of a national project started in Chicago, brings professionals and amateurs together with an audience under one topic to educate, laugh, and share.

An apt topic of the DC Stage, Jesus at Guantanamo and Gilgamesh explore power and abuse through the failings of heroes

The Arsonists acts as a chilling critique of blinding following norms and devotions while simultaneously being a rally cry to trust gut intuition.

Bertie Ferdman talks about The Quiet Volume and Hidden Stories, two interdisciplinary works that challenge audiences perceptions of time and space.

W.M. Akers examines immortality in Lucas Hnath's A Public Reading Of an Unproduced Screenplay About the Death of Walt Disney, questioning can our creations keep us here after we have past?

Alice Stanley writes about experiencing Chuck Mee's soot and spit, an experimental play about the artist James Castle featuring deaf and cognitively challenged actors.

Andrew Alexander looks at Atlanta-based theatre company Saiah, which took on the challenge of making a sea and whale come alive for audiences in their adaptation of Herman Melville's Moby-Dick.

Matt McGeachy tallks about VideoCabaret’s The War of 1812, which attempts to understand the war and its consequences through comedy, tragedy, and Canadian history.

Dani Snyder-Young discusses The Happiest Song Plays Last by Quiara Alegría Hudes, and asks: how do we invite diverse audiences into this exploration?

W.M. Akers looks at how this immersive musical from Alex Timbers, David Byrne, Annie-B Parson and Fatboy Slim tells Imelda Marcos' story through disco, audience involvement, and theatrical hypnotism.