By Amelia Parenteau. Theatre Advocay Project (TAP) offers a wealth of tools to create safer and more equitable working conditions for all theatre professionals.
By Amelia Parenteau. Through their work, translators of theatre allow others to travel with them between languages, cultures, and realities.
Laughs in Spanish by Miami native Alexis Scheer is a love letter to her city, specifically the Wynwood neighborhood, home to Miami's vibrant art scene. The relationship between the play's ce…
By Amelia Parenteau. Amelia Parenteau explores the creation of The < 3 G E N Project: a documentary theatre project in which the creators, Beatriz Cabur and Giulia Cavallini, are using di…
By Amelia Parenteau. Amelia Parenteau details the devising process of Intramural Theater, sharing how the company creates a safe and supportive container for artists to tap into their wildes…
By Amelia Parenteau. Amelia Parenteau chronicles the process of translating Eva Doumbia's Autophagies from French to English and producing its tour in the United States, a project that unfol…
By Amelia Parenteau. Amelia Parenteau introduces the We Will Dream: New Works Festival, a festival showcasing new plays by Black playwrights originating from or working in the American South.
By Amelia Parenteau. Although healthcare clowns have existed for more than forty years, their work isn't widely understood.
By Amelia Parenteau. Amelia Parenteau explores the most recent Seuls en Scène Festival, which took place in September 2020 on Zoom and had a programmatic mix of video recordings of live per…
By Amelia Parenteau. Amelia Parenteau examines the essential nature of both artists and medical workers"who heal body and soul, mind and spirit"and shares how some have navigated their caree…
Conversation with the two authors Charlotte Boimare and Magali Solignat, co-writers of the play, The Day My Father Killed Me. The conversation (condensed and edited) has beenÅ
By Amelia Parenteau. Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world t…
By Amelia Parenteau. Amelia Parenteau, along with theatremakers Eva Doumbia and Marie Houdin, explores the similarities and differences of parades and protests.
By Amelia Parenteau. Amelia Parenteau explores the importance of the Seuls en Scène French Theater Festival in Princeton, New Jersey, and discuses the themes and productions at this year's …
Every story needs to be considered individually for us to have any chance at finding something that looks like justice.
Is a one-act the most intentionally ephemeral storytelling? Or a prelude to a more extended version of itself?
This was a weird play, and I feel okay saying that because even the press release pronounces, "PLUTO is dynamic, simple, and strange." And I liked the weirder bits a lot. On the night I atte…
I first met Gus Schulenburg as an intern in his department at Theatre Communications Group. I remember being impressed by his ability to make time for everyone, in spite of the mountain of w…
One of TRE's greatest distinctions as a New York company (in my opinion) is that they are always playing onstage
Whose sympathies aren't piqued by a victim of circumstance who made someone laugh every day while he was alive, no matter how complicit he was in this environmental devastation, no matter ho…
The eponymous Nibbler, of The Amoralists' world premiere presentation, running at Rattlestick through March 18, strikes when you're about to have your first true sexual encounter. Its…
If you have never been to the Japan Society, tucked away on East 47th Street between 2nd and 1st, make it a point to go there this year. Better yet, go there this week. I promise you will be…
In my senior year of high school, the new drama teacher somehow convinced half the boys on the football team to audition for a production of Martin McDonagh's The Cripple of Inishmaan. They …
Wonder/Through the Looking Glass Houses is a dance show with artful, varied choreography and fluid company member collaboration from an ensemble that clearly knows itself well enough to play…
O'Neill succeeds in using a traditional four act structure to present what one can only imagine were revolutionary feminist ideas when this play was first produced.