U.S. by State

Jacob Richman shares insight into his piece The (unfinished) Ballad of Adam and Elena Emery as a roving performance. 

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.

The day after the opening, I get an email from a lawyer friend who says: “Okay, Pearl, you’re the expert. Explain the second act of that play we saw last night.” I sigh and put on the coffee. My hands hover over the keys. I’m not sure what to say or how to say it. Not sure where to find the intersection of honest critique, institutional loyalty and sisterhood solidarity, I plunge in, hoping for the best.

Allison Vanouse writes about Pere Ubu, and how their experimental rock channels the ghost of Ubu Roi.

This initial conversation between Artistic Director Jack Reuler and Playwright-in-Residence Aditi Brennan Kapil examines the artistic case for a theatre in Minneapolis to charge no admission, program ambitious new work that stretches its aesthetics, capacity, and resources, and perhaps more importantly, why this matters?

Emerging from the  Latina/o Theatre Commons is a list of plays everyone should have access to. This list helps start jumpstart the exploration of (but not define) Latina/o theatre.

Many of us can attribute our path to the theater to a dynamic teacher in school: the teacher that inspired us or showed us a new side of ourselves. This series is a snapshot of today's high school theater educators across the country sharing about what they do and how and why they do this work.

W.M. Akers reviews Marie Antoinette at Soho Rep. What is to be gained by following the notorious queen past her glamour and into the hour of her death?

Acting is a physical function. It starts with the body. The body is the instrument. A theater without actors is not a theater; yet theater without words exists the world over.

What would happen if ALL of the US Latina/o theatres banded together to share and create together? Could we turn the system upside down?

Patrick Maley examines the 2013 readings of August Wilson's American Century Cycle, presented by The Greene Space at WNYC and WQXR in New York.

Kati Sweaney interviews Michael Rohd about what and how the Catalyst Initiative promotes arts-based practices in meaningful community activities.

Ariel Baker-Gibbs reviews Tribes, and wonders who the play about deaf culture is speaking to: deaf audeinces, or the hearing audiences who are fascinated by them?

Dani Snyder-Young reviews Steven Simoncic’s Broken Fences at 16th Street Theater, and highlights the play's message... and how audiences have failed to recieve it.

Lily Janiak reviews Buried Child at the Magic Theater, and writes about the ways in which living in a world where the nuclear family has imploded sets new stakes for this play about familiar dysfunction.

With such a long history of Latina/o theatre, Linda López McAlister looks at the current picture by highlighting some current companies and history.

Patricia Davis reviews Taffety Punks' production of the unproducable: a humorous interpretation of Titus Andronicus, presented by the all-female Riot Grrrls.

Holly L. Derr covers Radar L.A. 2013, an interdisciplinary and internationally focused theater festival in Los Angeles theater