Theatre of the Americas, Both Ancient and New
We share more than colonial history with Central and South America; we also share theatrical traditions. But it can take a little re-exploration to map them.
We share more than colonial history with Central and South America; we also share theatrical traditions. But it can take a little re-exploration to map them.
With the long-awaited normalization of U.S./Cuba relations, theatre artists may be uniquely poised to make the most of the new climate of exchange.
Far from detached or academic, the work on offer at the Santiago a Mil festival showed theatremakers in the thick of politics, race and culture.
The festival founder talks about keeping theatre vital in a country recovering from dictatorship and facing new challenges.
Stateside companies form collaborations with theatres based in Mexico, and vice versa, creating a fertile dynamic for art and change.
Some companies that have made U.S./Mexico theatrical exchanges central to their work.
A collection of not-so-straight plays, an ensemble-devised work and an African-American living-room play made up the main slate at Actors Theatre’s annual new-play gathering.
Inspired equally by ‘Star Wars’ and Charles Ludlam, the Philly troupe’s ‘I Promised Myself to Live Faster’ explores the intersection of tween sexual awakening and sci-fi fantasy.
The historian/playwright returns to Louisville with ‘The Glory of the World,’ a raucous tribute to the Trappist monk on what would be his 100th birthday.
His new play looks at aging parents and the children who care for them, and doesn’t mind laughing at the things that are beyond understanding.