Equal Accessibility for Deaf and Hearing Audiences? It’s Possible!
How a new staging of ‘Cinderella’ is bringing Deaf/hearing theatre out of the ‘shadows.’
How a new staging of ‘Cinderella’ is bringing Deaf/hearing theatre out of the ‘shadows.’
Tague, who served in an interim capacity when Resident Ensemble Players founder Sanford Robbins stepped down in 2022, is now his official successor.
LaTeshia Ellerson and Emilya Cachapero will head up national engagement and national & global programming, respectively, with an operations & business development leader yet to be hired.
A spate of new productions and adaptations explore the geopolitical and theatrical legacies of an empire in decline.
This month Woodzick talks with the cabaret star about what makes an actual weirdo, how to give comfort without hope, and what’s on their bucket list.
She’ll leave her post at NYC’s Vineyard Theatre to succeed Paula Tomei at the Southern California new-play powerhouse.
Why and how Shakespeare Theatre Company took a starry, bloody, transatlantic ‘Macbeth’ to the warehouse.
How this magazine got off the ground, and the ground it’s covered since.
Writers gather at Little Island, and industry folks offer advice on the ups and downs of the business.
The artistic director of the Magic Theatre talks to the playwright of ‘The Travelers,’ the playscript in our Summer print issue, about poetry, process, and possibility.