Presence, Perception, Purgatory: The New American Supernaturalism
Stephen Karam’s ‘The Humans,’ like Annie Baker’s ‘John,’ uses realism to sharpen our attention to something bigger.
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Stephen Karam’s ‘The Humans,’ like Annie Baker’s ‘John,’ uses realism to sharpen our attention to something bigger.
The paper of record dispenses with design credits, while ‘Futurity’ imagines a new musical theatre.
The artistry of Deaf and disabled theatre workers has been amply demonstrated. Why aren’t they centerstage more regularly?
The fight over minority representation onstage is about broadening, not narrowing, opportunity and artistry.
Oregon Shakespeare Fest’s new translation project pits purity against clarity, 400 years of reverence against a few hours’ traffic of the stage.
An issue of a magazine, like a theatrical season, is a menu of options reflecting our tastes, affinities, and priorities.
Year after year, our national season preview survey shows a 4-to-1 ratio of male to female playwrights. What can we do about it?
Justin Tanner’s great 1990s comedies taught me about the beautiful impermanence of theatre. But artists keep creating, and plays can be revived. Maybe you can go home again.
As our website nears its first birthday, it’s clear we’re reaching more of you—and vice versa.
Revisiting MFA graduates from the ’90s, insights into Twin Cities leadership transitions, plus an in-depth interview with composer/lyricist Lin-Manuel Miranda.