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.
The birth of North America’s first professional troupe, the collapse of Zero Mostel, controversies, mergers, and more.