Lucas Hnath’s Plays of Frustration, Agitation Strike Chord with Contemporary Audiences
The kind of tension his plays provide may be just what contemporary audiences are looking for.
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.
Front and Center with Playwright Meg Miroshnik
Meg Miroshnik creates piece featuring young Russian girls after noticing a lack of females in Russian theatre.
Inside the Non-Place Design of Swandive Theatre’s ‘Outopia for Pigeons’
Designers for a play told from a pigeon’s point of view give details of the set development.
Matthew Lopez Delves into Drag, Hometown in ‘Legend of Georgia McBride’
New play receives first premiere at Denver Center Theatre Company.
‘Marie Antoinette’ Gets a Double Design Treatment
How the design team for David Adjmi’s “Marie Antoinette,” tackled downsizing the play for a smaller black box space.
The Civil War, Seen Through a Crinoline, in ‘Mary T. and Lizzy K.’
Tazewell Thompson’s play is not just about Mary Todd Lincoln and her dressmaker Elizabeth Keckly, it’s also about the clothes that they wore.
Man and/vs Machine
Madeleine George explores humanity’s relationship with technology in ‘The (curious case of the) Watson Intelligence’ at Playwrights Horizons.
Willem Dafoe: Tension and Mystery
Whether working with the Wooster Group or Robert Wilson, he sets out to reinvent the process and avoid his “ego agenda.”
Zinnie Harris and ‘The Wheel’ at Steppenwolf
The British playwright’s award-winning work receives a new staging from the Steppenwolf Theatre Company.
The Fantasy of Americana in ‘Fool for Love’
Using a neon sign and pervasive sound design, the creative team at the Jungle Theatre took a dreamscape approach to Sam Shepard’s classic.
