Under Jon Carr, Second City Looks For a Second Wind
With a new leader and new owners, the Chicago comedy staple has expanded its digital reach while reorienting for the future and readying a live return.
Stories by Jerald Raymond Pierce
Jerald Raymond Pierce is the associate editor of American Theatre. He studied acting at Ohio University and received his M.A. in arts journalism from Syracuse University. A member of the American Theatre Critics Association, he is also a freelance reviewer for the Chicago Tribune. Follow him on Twitter and Instagram @TheJRPierce.
2 Theatres’ Way to Fight the Pandemic: Take It Outside
Companies in Phoenix and Dallas hope to bring audiences back with open-air stagings as they wait for vaccination levels to make indoors safe again.
Victory Gardens Names Ken-Matt Martin as Its New AD
Martin promises a ‘clean slate’ at the Chicago theatre famed for its playwrights ensemble, after serving as associate producer at the Goodman.
Lanise Antoine Shelley: Following Her Intuition
Looking toward the future, Shelley hopes to create an inclusive atmosphere that cements the House Theatre of Chicago as a destination for artists to come and create.
An Offstage Tempest at American Shakespeare Center
The Virginia company, reeling from a tumultuous year, moves forward without the leader many company members say made it worse, Ethan McSweeny.
Home Theatre, Literally
Theatre Horizon’s Art Houses program partners with local families to devise virtual performances on their home turf.
Kisha Jarrett: ‘Theatre Is for You’
Artists’ Rep’s new managing director wants to break down the silos in her workplace and in her art form too.
Starting Conversations With ‘Manic Monologues’
An interactive web portal combines theatre and education in an effort to destigmatize mental illness.
So What Could a ‘New Federal Theatre Project’ Actually Look Like?
Growing calls for government arts support are welcome, even if the historical model of the 1930s is an imprecise analogy.
Ike Holter: Beyond the Playwright
The pandemic has given the Chicago playwright a chance to step back and rethink his approach—and he hopes theatres are doing the same.
