Language in the Driver’s Seat in ‘Racecar Racecar Racecar’
Kallan Dana’s intimate, unsettling play, a production of The Hearth redirected from the shuttered Connelly Theatre, reemerges at A.R.T./New York.
Kallan Dana’s intimate, unsettling play, a production of The Hearth redirected from the shuttered Connelly Theatre, reemerges at A.R.T./New York.
This month, Woodzick chats with multi-hyphenate filmmaker Vera Drew about cultivating joyful spaces for trans audiences through her DIY film ‘The People’s Joker.’
Who better to take the pulse of a changing industry than with the folks at the hub of the wheel: stage managers.
This Detroit-focused edition includes both theatremakers focused on cultivating the next generation and early-career artists showing the promise of that next wave.
This month, Gabriela explores multilingual and nonverbal storytelling, Jerald remembers Kris Vire and celebrates Sondheim, and two care consultants share ways to recharge this winter.
The Latino Theater Company’s border-defying Encuentro, the fourth of its kind, gathered hundreds of Latine artists for productions, partnerships, and dialogues in multiple languages.
Born in Covid lockdown, The Exodus Ensemble is shaking the New Mexico desert with immersive work, including their new ‘HAMLET.’
Five folks who help the show go on recall memorable points on their path.
In staging a revolution and its confusing aftermath, the musical ‘We Live in Cairo’ also seeks to dramatize the everyday life of Arabs.
Sondheim and Weidman’s masterpiece about Japan’s ‘opening’ to the West returns to an L.A. company whose history with the show is as tightly intertwined as its subjects are.