The community-engaged theatre troupe and institute, long based in California, recently touched down in NYC’s most diverse borough for a new adventure in art-making.
The company will move out of its longtime home of 20 years, citing rent hikes.
The Oregon Shakes leader will cross the country to take on a new challenge: to lead a performing arts center at New York’s World Trade Center.
Staged 20 years ago in a labor action center in south Los Angeles, Lynn Manning’s Brecht adaptation hit me where I didn’t even know I lived.
An issue of a magazine, like a theatrical season, is a menu of options reflecting our tastes, affinities, and priorities.
The theatre’s idealistic leader isn’t resting on its considerable laurels but pushing it to be more, and do more, all the time.
Why I’ve avidly watched the work of Cornerstone’s founding artistic director and of Oregon Shakes, both separately and together.
With “California: The Tempest,” the pioneering community-focused company is showcasing its influential methodology, as well as the institute it’s created to teach it to others.
Nine adaptations of Shakespeare’s “The Tempest,” ranging from American Repertory Theater to Cornerstone Theater, that shows you don’t need to do it as a straight play, or set it in Italy, to make it magical (though you can add real magic if you’re really ambitious).
A new staging of Madeleine L’Engle’s sci-fi classic is the newest entry in director Tracy Young’s genre-hopping, ensemble-focused career.