Site-specific Theatre

Erin Mee explores the role of stage manager and shares Stage Manager Sophia Lana Cohen’s perspective on working with This is Not a Theatre Company.

Jonathan Mandell explores five common elements in immersive theatre, and what makes immersive theatre successful.

In this installment, Gab Cody discusses her writing process for both iterations of OjO in Pittsburgh and San Diego.

verity healey offers an overview of pop up performances by Belarus Free Theatre’s studio Fortinbras, highlighting the treatment of disabled citizens in Belarus.

Jonathan Mandell reflects on the Fall season of New York theatre through the lens of Erin Mee’s “Drama and Performance” class at NYU, in which students see and discuss sixteen shows throughout the semester.

Erin Butcher writes about the difficult experiences she faced producing a show in a public park with an all-female cast and crew. 

Katie Naka discusses the Go Green pop-up experience in Harlem and advocates experimenting with urban green spaces as venues.

Liane Tomasetti discusses evaluating the impact of her team’s site-specific project and future implications for the community. 

In the first installment of his series, Damon Krometis explains his relationship to interactive theatre and his influences.

Jonathan Mandell looks at the recent cell phone fury, especially among prominent performers, and offers a different take on theatre etiquette.

Liane Tomasetti shares some words of wisdom following the performances of the site-specific, immersive piece Animating the James and Ann Whithall House at Red Bank Battlefield.

David Bruin on Mondo Bizarro and ArtSpot Productions’ Cry You One at the Arts & Ideas Festival in New Haven, Connecticut.

Phil Weaver-Stoesz describes an immersive theatrical experience where the audience took control of the narrative, and asks what rules, if any, we should set for audience members in non-traditional works.

Liane Tomasetti explores what timing can mean for site-specific theatre, and how helpful a pilot performance was for her team to tackle some big issues.

Erin Mee discusses the emerging genre of smartphone plays.

Sarah Cameron Sunde explores the issue of water rising on our planet, explores the drastic changes through art, and implores people to consider the water.

In this installation, Liane Tomasetti explores how tricky a first reading of a new site-specific play is, and how important it is to listen to all the community members involved.

Romanian playwright Peca Ştefan discusses a project to research and engage with residents to tell the stories of towns throughout Romania.

In this installation, Liane Tomasetti talks about the initial brainstorming sessions exploring what they were going to make, and what the partnerships could look like.

In this installment, Kate Kremer discusses the difference between public and private space, and the kind of theatregoing experience one can have in situations with unfamiliar rules.

3Christs is an adaptation of a study about therapeutic experiments with three men who believed they were Jesus Christ at Ypsilanti State Hospital in the 1960s. Performed in Judson Memorial Church, 3Christs exemplifies the essence of Peculiar Works Project.

Haley Honeman writes about The Kirkbride Cycle, a site-specific musical performed at Fergus Fall State Hospital, a deinstitutionalized asylum in Minnesota.