Solo Performance

Sound designer Victoria Deiorio reflects on her experience of Complicite’s The Encounter and its ingenious use of sound. 

Jonathan Mandell reviews Anna Deavere Smith’s latest solo performance piece, which presents seventeen real-life characters to establish a connection between school failure, the prison system, and police killings.

Paul Adolphsen on the 2016 National Arts Festival in Grahamstown, South Africa.

Trevor Boffone on Josh Inocéncio’s solo show, Purple Eyes, presented in special collaboration with ProyectoTeatro in Austin, Texas. 

Haydee Canovas on Carlos-Manuel’s Joto!: Confessions of a Mexican Outcast, directed by Jimmy A. Noriega, in Wooster, Ohio.

Amy Schwabauer on Death of a Man by Jairo Cuesta in Akron, Ohio.

Actress/Playwright Romana Soutus shares her process and experience performing her solo show Hyena.

Corey Ruzicano interviews performance artist Diana Oh, the first in a series of interviews with artists and the battles they chose to fight.

Playwright Josh Inocéncio shares his experience self-producing and touring his autobiographical solo show Purple Eyes.

Canadian theatre-artist Col Cseke considers how an artistic community seeks comfort following the tragic death of Michael Green, co-founder of One Yellow Rabbit.

Patricia Davis on Mosaic Theatre's US premiere in Washington, D.C. of I Shall Not Hate, based on the life of Palestinian doctor Izzeldin Abuelaish.

Award-winning actor and monologuist Eric Bogosian discusses how a monologue is created: from conceptualization, to free-form vocal improv, to writing, and performance.

José Torres-Tama writes about the development of Aliens, Immigrants & Other Evildoers, a sci-fi Latino noir performance about the Latino immigration experience.

Jake Rosenberg on Shotgun Players Cabaret presentation of Monique Jenkinson’s Faux Real in Berkeley, California.

Patricia Davis on Mehshaun Labrone’s Power! Stokely Carmichael at Washington DC’s Capital Fringe Festival.

Guillermo Reyes reflects on the twentieth anniversary of his play, remembers how it was received, and the challenges he came across making it.

Jess Applebaum on Sylvia Milo’s original solo performance as Nannerl, Mozart’s mostly-forgotten sister in The Other Mozart.

Patricia Davis on Teatro de la Luna’s US premiere of the Spanish language solo play, Maria Magdalen, La Mujer Borrada written and directed by Viviana Cordero.

Martha Steketee on solo performance and Dael Orlandersmith’s one-woman show, Forever.

Beatriz J. Rizk on La virgen triste by Elizabeth Mena, performed by Miami-based theatre  company Galiano 108.

Emma Wiseman on three “East Side Stories,” verbatim monologues at the Metropolitan Playhouse.

Lee Sachs contemplates the differences between theatre and film, and the corollary between film and theatre when it comes to solo work.