With Under the Radar bouncing back and Prototype and Exponential still going strong, it was challenging, surprising festival season all over again.
A recent visit to Korea demonstrated that musical theatre can offer emotional and visual journeys beyond language, though not every choice translates well.
Under the Radar, Exponential, and Prototype at last returned in person this year, and the pickings were as unexpected and various as ever.
Though American Realness and COIL are sorely missed, there was much international work to take in at this year’s Under the Radar and Exponential fests.
Matthew Lopez’s two-part epic uses E.M. Forster as a template and is playing in London, but this sweeping, imperfect play is unmistakably American.
A role as the gay Mormon lawyer in ‘Angels in America’ on Broadway brings the Texas-born actor back to a play that helped make him an actor.
What I saw when I chose to focus on artists of color at Under the Radar, COIL, et al.
What a piece of work is ‘Hamlet,’ as sampled in London, New York, and Colorado.
Interaction, immersion, identification, and exploration at this year’s Under the Radar, Coil, American Realness, et al.
A performance piece used bits of copyrighted plays to critique the portrayal of women in contemporary theatre. Was it fair use or out of bounds?