Jocelyn Bioh: Specific and Universal
The writer of ‘Jaja’s African Hair Braiding’ talks about her process, her curiosity about characters, and her play’s heartening success.
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The writer of ‘Jaja’s African Hair Braiding’ talks about her process, her curiosity about characters, and her play’s heartening success.
In ‘La Broa” at Trinity Rep, based on oral histories from Rhode Island’s Latiné community, playwright Orlando Hernández is thinking locally and bilingually.
How theatres in the historic NYC neighborhood are stepping up their game with artists and audiences.
The New Zealand-based Indian Ink Theatre Company brings immersive festivities to a number of U.S. theatres starting this month.
How a cohort of artistic directors of color, recently hired at major U.S. theatres, have confronted unforeseen upheavals.
In his latest play, published in full in our Fall print edition, the writer/performer probes implicit ableism and the assumptions we make about people we’ll never really know.
A hard-copy magazine about this ephemeral art form can mark its progress over time like no other medium.
An essay interrogating a hit musical about Filipino history, and a profile of 2 fascinating Chicagoland theatremakers.
Can any one publication tell the stories of a field that’s partly in crisis, partly hanging on, partly thriving? It can certainly bear witness to our accountability and abundance.
For this New York City-based costume designer and trans activist, artistry and protest are intertwined.