Theatre History

In this installment, Michael Lueger examines historical and contemporary depictions of Muslims in Western drama. 

Trevor Boffone discusses Lin-Manuel Miranda’s wildly popular Ham4Ham show, and how it fits into a Latina/o theatre tradition.

Alexis Greene shares her experience entering the theatre for Young Vic’s production of Arthur Miller’s A View From the Bridge. She reflects on Miller’s life and work in relation to today’s social climate.

In this second installment, Matthew Minnicino discusses legendary women characters in ancient Greek theatre. 

Scenic designer Joe Klug considers how the proscenium stage impedes engagement and connection with an audience.

Dr. Jorge Huerta reflects on the birth, present, and enduring legacy of El Teatro Campesino on its fiftieth anniversary.

On Albert Camus’s birthday, scholar Amy Brady reviews an article that was published in Theatre Arts Magazine in 1960 reflecting Camus’s reasons why he worked in theatre.

In this final installment, Jake Rosenberg traces the theatrical origins of the Spaghetti Western genre.

Eva Kyselová writes about trends in independent theatre in the Czech Republic.

Donald Sanborn on the evolution of Gigi from novella to film, film to stage, and stage and to stage once more.

In his third installment, Michael Lueger discusses the trajectory of theatre audiences from the ancient Greeks to the contemporary moment.

Bob Fosse is the only theatre artist who has won eight Tony Awards for choreography and one for direction, an Academy Award, and an Emmy. Dan Friedman considers Fosse’s impressive although spare film legacy.

Playwright Matthew Minnicino kick starts his series by addressing the tradition and implications of male playwrights writing female characters. 

In his second installment, Michael Lueger interviews Dr. Beth Kattleman about her journey in theatre and academia.

In the third installment of his series, Jake Rosenberg explores the history of Science fiction in literature, film, and theatre.

Michael Lueger on Gordon Edelstein’s production of A Moon for the Misbegotten at the Williamstown Theatre Festival in Massachusetts.

Edward Einhorn, artistic director of Untitled Theater #61, reflects on the Czech playwright and president Václav Havel’s contribution to theatre.

Mackenzie Ward considers a more hopeful interpretation of the hopeless landscapes of Samuel Beckett.

Playwright and actor Natalie Osborne distinguishes spectacle from special effects and advocates for spectacle with minimalist staging.

Educator and author Max Alvarez discusses the unlikely alliance of film director Alfred Hitchcock and playwright Thornton Wilder and Wilder’s contribution to one of Hitchcock’s greatest films Shadow of a Doubt.