How the playwright came to write her searing and sweeping play, and why she cares as much about her audience’s dialogue as her own.
How set designer Sean Riley paid homage to Robert Wilson without copying him.
From a Cape Cod playwright to a versatile Chicago director, from a D.C. producer to an Austin production coordinator, here are some folks you should have on your radar.
From the first theatre lit by electricity to the debut of ‘Streetcar,’ ‘Show Boat,’ and ‘The Great White Hope,’ December was a bountiful month in U.S. theatre history.
Readers respond to a story about the history of Suzuki and SITI Company, and an article about conservative theatremakers.
Two critics address themselves to critical models, both of the economic and the aesthetic kind.
We have so many theatre riches before us. If we don’t engage with them fully and forthrightly, we’re effectively taking them for granted.
We know too well the laments about shrinking critical jobs and authority. But are we looking for the future in all the wrong places?
Reviewers and reporters are an endangered species. Here’s how some of them are surviving—and even thriving.
Three theatre critics of color who are used to being the only one who looks like them on the aisle seat.