Jonathan Norton: A Sense of Place
The Dallas playwright, whose play ‘penny candy’ has just been published, talks about his city, his writing, and the busy intersection of the two.
The Dallas playwright, whose play ‘penny candy’ has just been published, talks about his city, his writing, and the busy intersection of the two.
3 years ago Erin Cronican was given 3-5 years to live, and now she’s starring in a production of Margaret Edson’s play about a scholar with cancer.
The company’s glittering new $60 million building, long in the works, puts the emphasis on multidisciplinary programming and Irish hospitality.
Already in his short time so far at D.C.’s Shakespeare Theatre Company, Simon Godwin has striven to redefine the stage canon.
Jenny Koons and Sam Pinkleton’s immersive new staging returns the fanciful show to its original conception.
Dana Schwartz’s new play about online gamers, originally conceived pre-pandemic, has fresh resonance after a year of isolation and virtual connection.
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.
Staged within a D.C. neighborhood block party, Pan Underground’s production of Caridad Svich’s play is designed connect local community members.
Phantoms playing hide-and-seek, lighting with a mind of its own, floating shadows, and more fill our annual assortment of tales about haunted theatres.
A co-production among Woolly Mammoth, the Huntington, and Pasadena Playhouse gives new life to Mike Lew’s disability-themed spin on ‘Richard III.’