If we can’t have theatre until we can gather again safely, what are U.S. theatres and artists going to do in the meantime, and after?
Experimental theatre artists Heidi Schreck, Daniel Fish, Taylor Mac, and Young Jean Lee aren’t so much joining the Broadway conversation as leading it.
The global prize for English-language writers carries a purse of $165,000.
It’s not just about talkbacks at the small Boston theatre—it’s about creating safe spaces for engagement with often uncomfortable work.
From a car-driven opera in L.A. to a roller coaster musical in Chicago, from education projects to exciting turnovers, fall is busting out all over.
In seeming to strike at the foundations of the realist family play, playwrights like Will Eno, Young Jean Lee and Taylor Mac may actually be proving the durability of its four walls.
In her new play, Young Jean Lee explores notions of privilege and identity by conducting an anthropological study of a very particular demographic.
From Young Jean Lee to Roald Dahl, from Shaw to Wedekind, the issue is packed with peril and conflict.
The downtown playwright/theatremaker talks about the traps she lays for herself—and for her audiences.
Premiering at the Wexner Center for the Arts in Columbus, Ohio, Young Jean Lee’s “Straight White Men” is a response to privilege and a call for change.