George Brant’s Grounded, at Olney Theatre, is a fast-paced, suspenseful, and moving one-woman show about a drone operator’s struggle to play two roles: annihilator and mother.
Dreams on the open sea are part of a larger narrative as Natasha Lee Martin, an actress, director, and teacher, performs in Confessions of a Synesthetic Sailor at TheaterLab in New York City.
Jonathan Mandell writes about Joseph Assadourian, his solo performance The Bullpen —based on his 12 years in jail — and how his narrative counters sensationalized prison dramas.
Marcina Zaccaria writes about Elizabeth Hess' Dust to Dust, a one-woman show responding to the the violence toward woman during the 1992-1995 war in Bosnia.
A Good Death examines how those who might be termed “professionals” of death matters (hospice care workers) strive to make the unthinkable into something good.
Chris Garza discusses Intermedia Arts and Freestyle Theatre’s recent production about the politics of skin in the United States, which makes the audience question the validity in saying the US is a “post-racial” society.
The Writing the Future workshop intended to create space where young Palestinian theatremakers’ could articulate their own precarity through monologue and solo performance. But its focus on futurity, Bayan Shbib writes, gave way to a harsher, clearer, and more necessary insistence on presence.
This month’s diarist has been navigating government healthcare for his mother and grandmother, which requires relentless advocacy and follow-through. In addition to caring for them and working at multiple theatres, he is producing a solo show about his struggles getting his mother the care she needs.
Each of the dialogues in this series speaks of the connection between political activism, creativity, and spirituality— and highlights the importance of intergenerational knowledge-sharing for the future of the Live Arts and Theatre sectors of the UK.
