What We Lost and Learned
The last 2 years forced us to face fundamental uncertainty and loss, and that’s a gift that will keep on giving.
Stories by Rob Weinert-Kendt
Rob Weinert-Kendt is editor-in-chief of American Theatre. He was the founding editor-in-chief of Back Stage West and writes about theatre for the New York Times, Time Out NY, and the Los Angeles Times. He studied film at USC and is a composer member of the BMI Lehman Engel Musical Theater Workshop.
Loretta Greco Named Artistic Director of Huntington Theatre
The former leader of San Francisco’s Magic Theatre and of NYC’s Women’s Project, she will take the helm of the Boston theatre in July, filling a vacancy left by Peter DuBois’s resignation.
A Big Table: What the New Irish Arts Center Means for New York
The company’s glittering new $60 million building, long in the works, puts the emphasis on multidisciplinary programming and Irish hospitality.
Paul Williams Rediscovers the Fun in ‘Emmet Otter’
The songwriter talks about adapting his beloved Muppet musical for the stage, about never growing up, and about the things you can learn from an audience.
Nothing That’s Not Been Said: On Sondheim
His path-breaking musicals have handily outlasted their detractors, in part because they remain so singularly alive.
Et in Arcadia, Go-Go’s: ‘Head Over Heels’ Upends Pasadena Playhouse
Jenny Koons and Sam Pinkleton’s immersive new staging returns the fanciful show to its original conception.
Game Recognizes Game in ‘@Playaz’
Dana Schwartz’s new play about online gamers, originally conceived pre-pandemic, has fresh resonance after a year of isolation and virtual connection.
What Can Still Be Seen by ‘Twilight’
As Anna Deavere Smith’s theatrical document of the 1992 L.A. uprising returns in a new form, it may feel so in touch with our moment because it helped to define it.
The Week That Shook Center Theatre Group
When the L.A. theatre announced a season light on women playwrights, a protest led to change and greater transparency.
How Lili Taylor Caught Wallace Shawn’s ‘Fever’
She may be alone onstage for the performance, but she contains—and reflects—multitudes.
