New York

Several characters are played by one performer in I’m Assuming You Know David Greenspan. In an analysis that spans from ancient Greece to contemporary Russia, Arseniy Fariatiev argues that the play does the opposite for the director, splitting directorial labor across several production roles.

For almost forty years, Real Women Have Curves has pulled audiences in with its story of Latine women in a sewing factory taking charge of their own destinies. Carlos Morton traces the story’s path from play to film to Broadway musical, affirming the power at its core.

Is New York theatre backsliding into a less equitable industry? Emily Chackerian writes about the very real worry triggered by recent season announcements that seemed to elide female playwrights—and the solution-minded responses the community offered at a recent town hall.

Parrots at the Pagoda imagines an afterworld where parrots guide Puerto Rican drag performer Johnny Rodriguez through memories of his life. In this journey, Citlali Pizarro writes, the transformation of death and life into memory illuminates a queer Latinx theatricality that celebrates itself against erasure.

The potential for photosensitive reactions—like seizures or migraines—keeps some audiences out of theatres. Nicole Hughes discusses the work of EpiArts and the FlashCue Project to make theatre more accessible to these audience members by educating theatremakers about photosensitivity and providing clear standards for communicating about flashing light cues.

Through non-narrative rock numbers, Dan Fishback is Alive, Unwell, and Living in His Apartment targets contemporary societal betrayals, from COVID denialism to the genocide in Palestine. Taylor Leigh Lamb writes about the show’s genesis and its multi-pronged commitment to safety and access for audience and artists alike.

Kamilah Forbes reflects on the inherent rebellion in the gathering of artists at the Under the Radar festival, and shares how this is a critical moment for theatremakers to offer their complicated visions to the world.

As the world continues to shift under the acts of the current United States presidential administration, the role that theatremakers play in shaping democracy is a hot topic in our industry. Tita Anntares recounts related learnings and conversations that took place at the Festival for Theatre and Democracy in 2024.

Ann Liv Young’s Marie Antoinette at Under the Radar sparked a lot of controversy, namely for its treatment of the performers. Carmi recounts the theatrical experience that was unlike any they’ve had before—which was also true for the performers.

The La MaMa Puppet Festival, which brought three weeks of puppet performances to New York City. The productions, writes Lucy Haskell, moved the material world to help us reconsider our own relationships to the worlds inside and around us.

The solo dance theatre piece LOAM adopts the balance, duration, and repetition of soil. Cara Hagan details the research questions and generative processes that she used to shape LOAM—and her own life.