Staging a Water Crisis: ‘An Enemy of the People’ in Flint
Artists from the U.S. and London are adapting Ibsen’s play about a town with poisoned water in a town that is still in the throes of the same issue.
Stories by Diep Tran
Diep Tran is a former senior editor of American Theatre. She received her degree in arts journalism at Syracuse University. Her writing has appeared in The New York Times, Time Out New York, Backstage, Salon, and TDF Stages. Tran read Sarah Kane’s Blasted when she was 20, and that hooked her onto theatre. Follow her on Twitter at @diepthought or visit her website at www.dieptran.com.
How a ‘Climate Change Musical’ Became a Right-Wing Punching Bag
It had science, it had art—in other words, the Civilians’ ‘Great Immensity’ was a perfect target for conservatives. Its director, Steve Cosson, responds.
When a Writer’s Rights Aren’t Right: The ‘Virginia Woolf’ Casting Fight
A lesson for Albee’s estate from Tennessee Willams’s: Classics can survive reinvention. And while we’re reviving, how about more diversity, not less?
Lauren Yee Branches Out From the Family Tree
Her comical ‘King of the Yees’ is not your average family play, but then her dad isn’t your average dad.
I Am Miss Saigon, and I Hate It
It’s not just that the hit musical doesn’t tell my family’s story. It’s that it perpetuates a narrative in which the Vietnamese are victims, not fighters.
A Place for Exposure: New Initiative to Nurture Writers With Disabilities
Apothetae and the Lark launch a two-year fellowship to nurture new voices and keep them in conversation.
Roundabout Launches Technical Training Program
The Theatrical Workforce Development Program aims to launch young people into full-time technical theatre careers, and diversify the industry.
Connecting Military Officers, Veterans, and Civilians in ‘Blueprint Specials’
When Waterwell discovered a Frank Loesser musical that hadn’t been performed since 1945, the company created a unique theatrical experience.
Does Race Have a Place in Theatre Criticism?
What the blow-up over a Times review of ‘Big River’ says about this cultural moment—and what it may bode for the direction of criticism.
Chicago Theatre’s Gender Breakdown (It’s Not Good)
A study of a recent season in the Windy City found that women wrote just 25 percent of plays and directed 36 percent.