Somehow the late, great director could work on my play—and give it exactly what it needed—even while occupied with countless other thoughts and projects.
The director of the world premiere of ‘Etta and Ella on the Upper West Side’ shares what unlocked this haunting play for him and the creative team.
Over the past year, no fewer than 10 shows on both sides of the Atlantic have addressed the historical rise of Nazism and/or the troubling resurfacing of antisemitism.
For all its faults, the form (and its fans) can’t help but stand up and sing for the underdog, for the awakened conscience, for moments of joyful liberation.
Under the Radar, Exponential, and Prototype at last returned in person this year, and the pickings were as unexpected and various as ever.
The writers of ‘Vatican Falls,’ ‘How I Learned to Drive,’ and ‘Downstate’ take varied approaches to depicting pedophiles—and reckoning with what they deserve.
Jordan E. Cooper’s satire could have had more success if it had kept cultivating audiences as intentionally as it did throughout its early development.
Why is this groundbreaking Broadway musical closing so soon? The tale of its creation, evolution, marketing, and critical reception offers plenty of clues—and some glimmers of hope.
One of the nation’s most prolific living playwrights celebrates the theatre that has sustained him, and asks that it recommit to, and expand, its support for new work.
A reflection on the influences who led me to become the theatre artist and educator I am today—and to be that influence for others.