This year’s festival, with a surfeit of plays by Jeton Neziraj, reflected the deep skepticism of a young country born of European conflict.
The Geers’ theatre began as sort of Left Coast artist’s colony, and even as it’s grown into a true repertory house its political roots show.
A small but powerful theatre in Pasadena has become a national new-play force, but it’s facing new challenges at home.
Two new books look at companies that serve audiences outside the institutional theatre’s cocoon of privilege.
Art or social service? That’s a false choice for this small but committed L.A. theatre, where theatrical excellence and community service are inextricably intertwined.
An historic gathering of Latina/o theatremakers put the focus firmly on the work and let the politics—including the identity politics—emerge, or not, from there.
Sound designer John Zalewski takes a holistic, even visual approach to crafting a play’s aural world.
Shape-shifting ensembles are surfacing on major U.S. stages, trailing new techniques and changing the playmaking rules.
Authenticity and connection were elusive goals for Michael John Garcés. Then he landed at the helm of Cornerstone.