A Welcome for All
Inclusion in the theatre begins, but doesn’t end, with matching diverse programming and new audiences.
Inclusion in the theatre begins, but doesn’t end, with matching diverse programming and new audiences.
This month Brian speaks with the busy playwright about dramatizing Idaho, promoting the film of ‘The Whale,’ and working on a new play at Steppenwolf.
On this Chicago-themed episode, Rob and J.R. talk to the actor-director duo about staging August Wilson’s solo play, ‘How I Learned What I Learned,’ and check in with arts journalist Mike Davis.
Branden Jacobs-Jenkins’s world premiere play about a Black political dynasty is the latest in Steppenwolf’s lineage of explosive work crafted around their acting ensemble.
AT’s new Chicago editors check in on happenings at theatres large and small: openings, closings, notable folks, and assorted chisme.
With her playwriting debut, the Steppenwolf ensemble member explores what happens after most stories end.
Getting audiences to return isn’t the only post-COVID challenge theatres are facing.
A new biography of Sam Shepard focuses on the man as an icon rather than as a writer—though, as with everything in the late dramatist’s work, such delineations are never so neat.
Boundlessly creative, unfailingly astute, he didn’t just make and teach theatre of the mind but of the heart as well.
Shakespeare’s iconic villain has always been disabled, but increasingly the actors playing him—and the productions and adaptations they star in—reflect disability aesthetics and activism.