Criticism

The Feath3r Theory post-ballet theatre musical about the influence of pop culture on how we live.

Carlos Morton on the revival of Simply María, or The American Dream by Josefina López in Los Angeles.

Wild Women of Planet Wongo is a cliched tribute to sci-fi and B-movies about worlds without men.

After a comment storm on a recent HowlRound post about bias in criticism in the American Theatre, P. Carl addresses how the democratization of the arts is a form of inclusion.

Brett Aresco looks at personal comedy theatre and recent shows by Neal Brennan and Mike Birbiglia.

A fairy tale for our modern age? A consideration of Anastasia by Amanda Prahl.

A collectively authored essay by leading artists, academics, and theatre advocates about Paula Vogel’s Indecent and Lynn Nottage’s Sweat on Broadway amid a conversation about critical bias toward women playwrights and playwrights of color.

What happens to Nora after she slams that door? Cristina Sanza considers A Doll’s House, Part 2.

Minnesota’s favorite storyteller: Kevin Kling.

Trevor Boffone looks at the provocation of Native Gardens by Karen Zacarías in Houston and the conversations it’s starting about Latinx theatre.

Gary English looks at the production Other Places by the Palestinian theatre group Al Khashabi Ensemble.

Lydia K. Valentine looks at Hands Up, a series of monologues that address the killing of unarmed black men by police.

Jonathan Mandell compares the countrywide reaction to the anti-Trump play Building the Wall with its reception in New York, where it's closing a month early.

Sarah Ruhl on The Lilly Awards, criticism, and the power of mothers.

Holly L. Derr looks at ethnodrama and Her Opponent, a restaging of excerpts of the 2016 presidential debates with gender-reversed casting.

Yuko Kurahashi talks about the Collidescope 3.0 project, which uses movement, video projections, and soundscape to explore black and white relations in American history.

Airness uses air guitar to ask what is real. The answer: the families we make.

Ryan Donovan considers the critical reception of casting an actor with a disability in the current Broadway revival of Tennessee Williams's The Glass Menagerie.

Jonathan Mandell looks at the Broadway season that just ended, dividing it into escapist entertainment and socially engaged theatre, and wondering which is more needed in times like these.

Erin Murray discusses the echo of history in upstart crow collective’s Bring Down the House.

Cherry Lou Sy looks at the one-woman show Mary Speaks written and performed by Angela Polite, about using Mary, the mother of Jesus, as a vehicle to explore black grief.

The grace and fury in the performance of Jo Lampert as Joan in Joan of Arc: Into the Fire.

Laura Marriott explores Daniel Wade’s The Collector and Mark Richardson’s Anonymous, two recent productions in Dublin that explore contemporary social issues.