Four fundraisers talk about what keeps them going, and what it takes to keep the arts alive.
Three theatres that didn’t let a crisis stop them—or go to waste.
Given the chance to play Claudio as a black man, neither I nor our production took the racial implications lightly.
The crushing homogeneity of theatre criticism means it’s missing crucial perspectives—and its relevance to readers.
The grants will give extra rehearsal time for 10 productions of new works.
Plays on some pet presidential subjects—immigration, U.S. history, the presidency itself—stir uneasy new resonances.
American plunder didn’t begin with this administration. Our theatrical dissent must be grounded in a holistic critique of state violence.
At Intrepid Theatre, costumes for Suzan-Lori Parks’s Civil War-set take on ‘The Odyssey’ evoke both the past and the present.
Our magazine doesn’t include the Bard on its annual most-produced lists, but this year he snuck his way to the top anyway.
An exposed nerve, a calming presence, an irresistible catalyst, a wide-ranging empath—the composer/lyricist contained multitudes.