George Wendt, Staying Mostly Within the Norm, Stars in Northlight’s ‘Funnyman’
In Bruce Graham’s new play, Wendt plays an actor known for a single iconic role who’s trying to break the mold—unlike Wendt himself, who seems content with the comedic.
Category Archives: Interviews
The Wild and Woolly Worlds of Playwright Sibyl Kempson
The experimental theatremaker takes her cues from the natural world, the subconscious, and feminist thought in her genre-defining works.
Light on Their Feet: A Conversation With Jennifer Tipton and Sebastián Solórzano Rodríguez
The seasoned New York lighting designer has been mentoring the young Mexican artist for a year. They met recently to talk about composition in time and space.
How ‘Hamilton’ Found Its Groove
Lin-Manuel Miranda packed everything he knows about history, hip-hop, and musical theatre into his new hit show. No wonder ‘Hamilton’ is changing everything.
Marga Gomez’s Love/Hate Letter to Her Lesbian Role Models
In her raunchy new solo show ‘Pound,’ the solo performer takes on filmic stereotypes—and tries to one-up crude male comics.
On Darko Tresnjak’s Calendar: More Love, Murder, and Musicals
From obscure classics to populist musicals and thrillers, Hartford Stage artistic director Darko Tresnjak is in the midst of a killer career.
Jennifer Holliday, From ‘Dreamgirls’ to ‘Sophisticated Ladies’
She may have moved beyond the big bring-the-curtain-down numbers, but the singer can still bring down the house. Next: ZACH Theatre’s Ellington revue.
How Lynn Nottage, Inveterate Wanderer, Found Her Way to Reading and ‘Sweat’
The playwright of ‘Ruined’ and ‘Intimate Apparel’ talks about her new play, inspired by America’s ‘de-industrial revolution’ and bowing this month at Oregon Shakespeare Festival.
Rutina Wesley, From ‘True Blood’ to ‘Twelfth Night’
The Old Globe’s newest Viola talks about same-sex attraction in Shakespeare, playing against type, and the wonders of Fiona Shaw.
Dave Malloy’s Rhapsody on a Theme of Rachmaninoff
The ‘Great Comet’ composer returns to Russia for ‘Preludes,’ and this time it’s personal.
