A Gay ‘Inheritance’ That’s Generations in the Making
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.
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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.
The recently laid off editor of Time Out Chicago reflects on the scene he’s covered and the state of arts journalism.
After a decade, she concludes her ‘Seven Deadly Plays,’ and finally opens up about her time working at Miramax.
No longer a rarefied practice, sensory-friendly performances got a national boost from Lincoln Center’s April-May festival.
By doing such vital work by living playwrights, this classical destination theatre with Shakespeare in its name effectively puts them on equal footing with the Bard.
The outgoing artistic director of Actors Theatre of Louisville talks about new plays, directing vs. interpreting, and his impressive beard.
My play ‘The Mermaid Hour’ asks theatres to cast only trans or gender-nonconforming performers in the lead role. Here’s how they, and the teens, rose to the occasion.
‘The Wolves,’ ‘Dance Nation,’ and ‘School Girls,’ all by young female playwrights, show girlhood in all of its complexity and ferocity.
In touring shows for young audiences, how do you get beyond familiar titles? Building trust among adventurous allies is key.
Many theatres consider ‘excellence’ a priority, even a mission. But what do we mean by that word?