Stage fog and haze are great tools for the right occasion. But must they be a default design element?
Two new dance biographies show what we can (and can’t) learn from the revolutionary choreography of Agnes de Mille and Bob Fosse.
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.
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 Wolves,’ ‘Dance Nation,’ and ‘School Girls,’ all by young female playwrights, show girlhood in all of its complexity and ferocity.
What do Polish and U.S. history have in common? Nancy Keystone’s beguiling new mash-up makes the connections.
Are we going to let the place where the mother of improv developed much of her thinking, and wrote her seminal book, be snatched up and possibly torn down?
Is there a way to humanize playwrights’ familiar submission/rejection cycle? Remembering that there are human beings on both sides of the exchange can help.
At the 42nd Humana Festival of New American Plays, the Kilroys and Anne Bogart spoke, Lauren Gunderson got a prize, and a majority female-authored program commanded the stage.
What gives this 19th-century Norwegian’s plays their lasting power? ‘Power’ is the operative word.