I’ve Got a Beautiful Feeling About the Future of Hammerstein’s Farm
The 5-acre farm in Doylestown, Pa., where Oscar Hammerstein II wrote his epochal musicals is being turned into a museum and education center.
Features
‘Shared Sentences’: Families Doing Time Together on the Outside
A new production from Houses on the Moon Theater Company explores the untold stories of family members whose loved ones are incarcerated.
How George Faison Orders His Steps
In a free-ranging retrospective interview, the Tony-winning choreographer of ‘The Wiz’ talks about his influences, his work with pop stars, his time with Alvin Ailey, and the love of his life.
Jordan E. Cooper’s ‘Ain’t No Mo’’ Lands on Broadway After Regional Layover
What began as a dark thought experiment—what if Black folks just left America and its racist violence behind?—has grown into a scathing satire that speaks to something deep inside audiences.
Staying Power: 9 Theatre/TV/Film Artists on What Keeps Them Going
Staying to true to your gut, making the work no one is hiring you to do, finding a community that gets you, taking mental health breaks—these are just some of the tips these creative folks are happy to share.
Lincoln Center Theater Directors Lab: Not a Eulogy But a Celebration
For 25 years, this hugely influential program welcomed directors from all over the world to compare work and share practices. Is it really over?
Love Letters and Music in TyLie Shider’s ‘Mom and Pop’ Plays
In ‘Certain Aspects of Conflict in the Negro Family’ and ‘The Gospel Woman’ this journalist-turned-playwright recovers overlooked histories—and that work started at home.
This Month in Theatre History
November looks back on some Houdini hijinks, the origins of two major regional theatres, and a First Nations-led premiere.
The Evolution of Anthony Davis’s ‘Malcolm X’ Opera
The Met Opera-bound revival, directed by Robert O’Hara, plays this weekend in Omaha, where the influential Black leader was born Malcolm Little in 1925.
David Hare Wants to Know Why We Suffer
His new play ‘Straight Line Crazy’ may treat an American subject, but the English playwright is still addressing some of his chief political and social preoccupations.
