‘Slam Frank’s Not-So-Secret Weapon: Multi- and Meta-Talented Olivia Bernábe
At the center of an Off-Broadway musical that is both exciting and dividing audiences, their performance crucially blends impishness and sincerity.
Category Archives: Interviews
Lileana Blain-Cruz and the Afterlife of ‘Lincoln in the Bardo’
In staging a new opera by Mizzy Mazzoli, based on George Saunders’s popular novel, the busy director has brought along some frequent collaborators, as well as plenty of life-and-death questions.
Nadia Hopkins’s ‘Humane Traps’ Takes 2026 Relentless Award
A quietly absurdist play about death and rodent infestation is the Boston-born dramatist’s first full-length work, and the winner in the landmark playwriting prize’s 10th cycle.
Curt Columbus Stages His ‘Getaway’ From Trinity Rep
The historic Providence theatre’s artistic director, whose last play at its leader is ‘The Getaway Driver,’ recalls his two-decade tenure, and talks about what’s next.
Jessica Stone: Ready for a Long Conversation at La Jolla Playhouse
For this actor-turned-director, the job of running one of the U.S.’s biggest nonprofit theatres is less about finding an artistic home for herself than making a home for others.
That Lip-Syncing Feeling: A Conversation With an Icon
A La MaMa resident artist has a multi-generational check-in with Lypsinka, a.k.a. John Epperson, on an art form that can go deep by channeling widely.
Evan Yionoulis on the Sanctity of Theatre at Juilliard, Yale, and Beyond
The renowned director and acting teacher discusses her transition into a new academic and artistic institution.
Puerto Rico: A Scene of Its Own
Performer, director, and educator Isel Rodríguez walks us through the archipelago’s distinct theatre landscape.
Golden Thread’s Nabra Nelson: ‘We Can Just Do Things’
The company’s new artistic director talks about leading the nation’s longest-standing theatre company dedicated to the Middle East.
Ro Reddick, Hannah Doran Both Win Blackburn Prize
The time the judges honored both Reddick’s surreal ‘Cold War Choir Practice’ and Doran’s gritty ‘The Meat Kings! (Inc.) of Brooklyn Heights.’
