Front and Center This Month
Fairy tales, history both documented and reimagined, and works in translation are recurring themes this month.
Stories by Rob Weinert-Kendt
Rob Weinert-Kendt is editor-in-chief of American Theatre. He was the founding editor-in-chief of Back Stage West and writes about theatre for the New York Times, Time Out NY, and the Los Angeles Times. He studied film at USC and is a composer member of the BMI Lehman Engel Musical Theater Workshop.
Tanya Saracho Has No Plans to ‘Fade’ Away
What to do when you’re writing for TV and worry you’ve lost your stage mojo? Write a play about writing for TV.
Eric Bentley: The Thinker as Critic
The eminent critic looks back on a career, and a century, of high hopes and pitched battles.
Tell a Vision: Is TV Better Because of Who’s Writing for It?
After all, the last time the medium had a supposed Golden Age was when it staged plays live. Coincidence?
Rock Was Theatre for David Bowie, and He Elevated Both
He acted onstage and in films, but he never gave a greater performance than in the role of rock god.
The Buzz: 6 Theatre Artists Share What They’re Looking Forward To
From improv comedy shows, to multidisciplinary performances, to painted unicorns onstage, six theatre workers dish on what they are working on, and looking forward to.
I Need You, I Hate You: Rainn Wilson Plays With the Audience in ‘Thom Pain’
The ‘Office’ star has wanted to tackle Will Eno’s breakthrough monologue for a decade, and Geffen Playhouse had an open slot. Is he ready to get shouted at?
Sandra Tsing Loh Stages a Midlife Crisis in ‘The Madwoman in the Volvo’
She may have hoped to write a comfy play about the vagaries of menopause and after, but, in her art as in her life, she couldn’t take the easy way.
Duncan Sheik on CSC’s Disputed ‘Mother Courage’
The ‘Spring Awakening’ composer, who enjoyed working on Brecht’s thorny classic with director Brian Kulick and star Tonya Pinkins, weighs in on the show’s fortunes.
We’ve Got Issues—Special Issues, That Is
In addition to our regular themed editions—including our current one on acting training—we’re aiming to make each issue special in its own way.
