At La MaMa last spring, the two directors gathered to talk about actors, audiences, censorship, dislocation, and the haven of the rehearsal room.
The tight-knit troupe, whose unique training has been at least as influential as its form-bending work, ends its 30-year run in a typically unlikely way: with a take on ‘A Christmas Carol.’
Preston will be succeeded by Megan E. Carter, who will carry out her role the final two months of producing activity for the 30-year-old company.
His new play, debuting virtually via Cutting Ball Theater, envisions a world beyond conflict and judgment, which for him is a kind of realism.
After three decades of form-breaking work, the influential company is folding up regular business and creating a comprehensive living archive.
This trauma will change us, live in our bodies, and leave a mark. We should also seize the chance it gives us to heal.
U.S. theatre’s relationship with its Japanese colleagues has come a long way since Tadashi Suzuki’s 1978 debut here.
Diversifying personnel is important, but a more fundamental step might be to change the ways we teach theatre.
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.
Readers respond to a story about the history of Suzuki and SITI Company, and an article about conservative theatremakers.