Solo Performance

Evan Silver aka Tiresias details their inspirations and intentions for cryptochrome, a sonic odyssey and ritual meditation that invites audiences to imagine themselves in the sensory worlds of other living things.

In the solo show KOAL, Jacinta Yelland explored both human and non-human experiences in response to catastrophic bushfires in Australia. She shares the insights and creative decisions that kept her piece deeply entwined with nature and culture.

Plant Man is a performative forest: a full-body suit filled with living plants, created and inhabited by Marco Guagnelli. He writes about the ways this performance-based artistic research project explores embodied relationships with nature through plant-filled garments and performative actions.

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.

The 2025 Theatre in the Age of Climate Change series explores solo performances that take on ecological issues. Curator Chantal Bilodeau introduces the series by using her own play, No More Harveys, to ask: how can we use theatre to hold the entire world in one body?

In this conversation from the 2024 American Society for Theatre Research (ASTR) conference, multihyphenate artists Annalisa Dias and Madeline Sayet came together for a conversation on the conference’s themes of ecology, decomposition, and creation.

Ten years after writing The Gun Show, playwright Ellen Lewis looks back at the play that tasks an actor with the delivery of a series of gun stories from Lewis’s life—typically with Ellen among the audience. Lewis sits down with Nate Cohen, who worked on the show for several runs that totaled more than one hundred performances, to reflect on the ways the play, its playwright, and the world have changed over ten years of productions.

Kristin Idaszak reflects on experiencing Nina Vogel’s lambe-lambe piece ConCordis at the Prague Quadrennial. This deceptively simple puppet performance aided Kristin in processing her feelings about her work in theatre while navigating chronic illness, and also reminded her of the deep connection to the universe that we all share.

Monica Payne recaps the 26th international Gdansk Shakespeare Festival, where artists from around the globe adapted, deconstructed, and celebrated Shakespeare’s plays through boldly contemporary productions.

In Martin Domecq’s contribution to the Climate Emergency series, he puts four Brazillian performance art pieces in conversation to draw upon the poetic, political, and civic lessons they offer. These performances—which range from installations to solo and group performances—model possible paradigms that work against ecological crisis.

Playwright and environmentalist Alice Stanley Jr. shares her experience of Capital W’s newest immersive theatre piece, Fire Season—a play about climate change that took place in the Santa Monica Mountains during this year’s wildfires.