Criticism

Yasmin Zacaria Mikhaiel talks about the importance of “good” criticism through the lens of Kristiana Rae Colón’s play Tilikum.

Kitty Drexel discusses how the New England theatre community is working to improve their harassment policies, and what the critic's role can be in making inclusive spaces that are safe for all.

Writer and performer Rob Onorato explores what makes the Chicago Neo-Futurists so special.

Katherine Swimm discusses New Rep Theatre’s Boston production of Ripe Frenzy, and the innovative collaboration between playwright Jennifer Barclay and projection designer Jared Mezzocchi.

Announcing a #howlround twitter chat on the state of theatre criticism now on Monday 13 August at 4pmET.

David Dudley explores the story behind John Cage’s Theater Piece No. 1 and discuses SITI Company’s recent production of it, which was conceived and directed by Anne Bogart.

Bertie Ferdman looks at En Garde Arts’ production of Red Hills, which explores the question: “Who has the right to tell what stories?”

Scholar Emily Garside explores the ideas at the heart of Matthew Lopez’s play The Inheritance and the way in which the story acts as a response to Tony Kushner’s Angels in America.

Cassidy Dawn Graves writes about the anti-capitalist narrative present in Sweeney Todd: The Demon Barber of Fleet Street and the significance of producing the musical in 2018.

Jonathan Mandell writes about The Boys in the Band, The Gentleman Caller, and 217 Boxes of Dr. Henry Anonymous, and discusses their portrayal of gay male characters.

Dominick DeGaetano reflects on Hyung Seok Jeon’s A Held Posture, which last performed at Theaterlab in New York City in January 2018.

New York critic Jonathan Mandell gives us a glimpse at the recently ended Broadway season, and reflects on how these shows have handled the past as a way to adapt to our current sociopolitical moment.

Caroline Prugh discusses Kaimera Productions’ SPACES, a site-specific performance weaving together storytelling and dance that took place in June 2017 at the Harlem Arts Festival in New York City.

Emily White writes about Rebeccah Simone Bogue’s Piece by Piece, which was presented as a work in progress in New York City in February 2018.

James Wyrwicz reflects on how two shows, Say Something Bunny! and Margarete, use found audio and video recordings as the basis for storytelling.

Jonathan Mandell reflects on the twentieth anniversary production of Basil Twist's Symphonie Fastastique at HERE Arts Center in New York City.

Kitty Drexel writes about the failure of Andrew Lloyd Webber's Love Never Dies to accurately represent the performers with disabilities that made New York City's Coney Island famous.

Robert Duffley reflects on four shows from the 2017 Divine Theatre Comedy Festival in Kraków, Poland.

Jonathan Mandell looks at several current plays that depict violence by or against African Americans, including LeKethia Dalcoe's A Small Oak Tree Runs Red, Gabriel Jason Dean's Terminus, and Althea Harris's Is God Is.

Jen Gushue reflects on the visceral work of Irish playwright Enda Walsh.