U.S. by State

Chris Garza covers the 2013 Minnesota Fringe Festival and reports back on its selection lottery, aesthetics, and discusses some of the 42 performances he saw.

Lily Janiak writes about Terminus at San Francisco's Magic Theatre, and how the tale of a night in Dublin centered around a construction crane, reverberates with the construction boom in the Bay Area.

Allison Vanouse writes about DEAD ART STAR at Bathaus, and how social media documentation interacts and intersects with performance art and its goals.

Bertie Ferdman writes about the use of immersion in Roadskill and La Ruta, and how this trend in storytelling can help us create political theater that creates empathy and action.

On this edition of Parenting & Playwriting with Catherine Trieschmann: the first days of school.

Byron Woods writes about Vogue Men's Fashions, and the controversial idea that white men are being isolated and alienated from greater society.

Cecilia Copeland’s uncle was her rock within any family flict. Her uncle also loved guns which has inspired her to write with his life in mind as she navigates the topic of gun control.

Allison Vanouse examines Shakespeare & Company's start to their history cycle: Richard II. She argues that Shakespeare's history plays work best when they speak to our contemporary concerns.

Andrew Alexander offers tools for appreciating the art and value of live performance while reflecting on gloATL's 2013 public art project, Liquid Culture.

Riley Braem writes about his experience programming TYA, and why it's important to expose audiences to challenging work – the younger, the better.

A look at the idea of killer nerds: cautionary tales twice over.  First, these stories show the consequences of marginalization and then secondly probe the power of advancing technology.

A look into how director Mary Zimmerman brought The Jungle Book, steeped in racial contexts of British Colonization and 1960s America, to today’s conversation of what has and hasn’t changed.

Even though Los Angeles has a fifteen percent Asian population, the question is still up in the air about the representation of these artists and their stories in mainstream media channels. 

Holly L. Derr questions if the Hollywood Fringe Festival’s “open access” producing training is at the expense of diversity considering the inherent privilege in the model of producing.

Kyna Hamill investigates the implications of addressing war on stage and shares a brief overview of Theatre of War.

Space 55’s lack of censorship and reminder of the “free-speech” aesthetic of the show promotes a spirit of liberation while providing an insurance policy for the theater company.