A white light emits from the mouth of a vintage Shure Unidyne microphone dangling from the ceiling on what looks like an electric vine with various twists and hooks adorned. When Richard com…
The question, in the end, is how much we value space in this city. For people able to afford exorbitant rents, exorbitant theater prices are logical.
She exists, she conjures, she illuminates through whisper and scream.
Shaun Irons and Lauren Petty discuss "Why Why Always," a cine-performance
Dan O'Neil interviews Tantztheater Wuppertal Pina Bausch dancer Stephanie Troyak, and asks the question: "Can we make this?"
Anchuli Felicia King is a multidisciplinary artist of Thai-Australian descent who works primarily in live theater.
Its in-betweenness, like the liminal space of "not me…not not me," grants us the ability to be in two places at once.
Canada abandons the arts for "creative hubs"; exploring relevance in performance at Philly FringeArts; questioning the Guggenheim; and more.
This fall, both North Shore Music Theatre and San Diego Rep staged productions of Evita featuring an all-white cast. This event was brought to the attention of the Latinx theatre community t…
Rohina Malik and Kareem Fahmy talk The Mecca Tales with Jerry Lieblich
The British artist discusses "Blackouts," at Crossing the Line 2017
A Blood Orange traffics in confusion, doubles, echoes and muffled voices.
To attend is to remind yourself how much we miss by relying on established institutions to deliver us our culture, pre-curated and mixed just so, on whatever silver platter they might have r…
In THE POWER OF EMOTION: THE APARTMENT, the notion of emotion as a perfomative element provides the foundation for a wider exploration on how we not only watch, but hear and interpret emotio…
The moment it becomes legible, it becomes something else.
To what degree must our celebrities look, sound, and live lives enough like ours in order for us to fetishize becoming them?
This place where language is familiar because of airports and tampon boxes and online preachers and being cat-called and the slow drip of consumer rhetoric.
These works imagined utopias that challenge our assumptions about the limits of what we accept as reality.
Aesthetically, Tiny Hornets lives in the neighborhood of a surrealist depiction of an early twentieth-century carnival"somewhere in between a sober version of Burning Man and Bob Dylan's Rol…
Maura interviews Dorothée Munyaneza. Her "Unwanted" has its New York premiere at Baryshnikov Arts Center TONIGHT (September 21-22). Her "Samedi Détente"Â at Under the Radar Festival in e…
A response to The Krumple's 'YOKAI: Remedy for Despair' via the questioning of how one responds to art and how dependent that response is on form and location.
Performance as reparation, as reconfiguration, as a way to bounce back and forge ahead.
She mourns and then she is fully present, looking right through you, dancing with abandon.
This is that Marco Polo shit, I realized. This city, we've inherited it. We're in it. And I didn't think anybody else besides Sam would care with the fervor that I did.
Cumbe: Center for African and Diaspora Dance (Cumbe) returns to Brooklyn with a new home at RestorationART. Maura interviews Jimena Martinez, Cumbe's Executive Director.