"All the world's a stage," says a character in William Shakespeare's "As You Like It." "Life is theater," as we say today. "I want to see meaning in theater," says young actress Zulla, one o…
Attired in a crisp white dhoti with a red zari border, bleached white shirt and angavastram, one could mistake Krishna, a "Haridasu," for a wandering pilgrim. He ambles along the silent city…
In my time as a critic I've noticed on numerous occasions that musicals rooted in political satire always have second-act problems. They come out of the gate identifying a specific breed of …
Konrad Hello, I'm Konrad. I'm here to share an account of the production of Mark Ravenhill's The Haunting of Susan A. I saw it on the 11th of June 2022 at The King's Head Theatre " perhaps b…
Gratitude, by Oren Safdie, directed by Maria Mileaf, and starring Jalen Ford, Jake Bryan Guthrie, Erik Larsson, and Aline Salloum, runs through June 30th at UrbanStages, 259 W 30th St, New Y…
Since its original 1933 film debut, the story of King Kong has become a mainstay of America's, and New York City's, popular culture, with the great ape's skyscraper showdown as much a civic …
Dominique Morisseau is aware that most of her fans see her as a predominantly naturalistic playwright with a sharp comic tongue and a sharper social conscience. She says so in an intro note …
Though Gilbert Gottfried's voice has alternatively been described as "shrill," "annoying" and "grating," you can't say it isn't memorable. Gottfried, who died on April 12, 2022, didn't natur…
This is Part II of the essay. To read Part I, click here. 8. (ON A-HUMANISM, AGAIN) A-humanism is not just a theoretical axiom but first and foremost an experience. Who speaks? Who writes? W…
(A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance)[1]With the exception of the introduction and the preamble, this text restates my farewell lecture at …
Fat Ham arrives at the Public Theater for its first live production following the Zoom staging by Philadelphia's Wilma Theater that earned it the 2022 Pulitzer Prize for Drama. The play's in…
Egyptian actor and director Mohamed Sobhy is celebrating the success of his latest theatrical play Nogoum El-Dohr, which is ending its run soon. Nogoum El-Dohr attracted high attendance duri…
​​When an actor is criticized for peculiarly excessive preparation for a role, or an inability to break character off-camera, an ill-defined notion of "Method" acting (note the…
Sky of Darkness is enjoying its US premiere June 2-12 at Theaterlab in Midtown Manhattan. The play, written by me, is directed by Rakesh Palisetty, courtesy of Pan Palisetty Production. Sky …
Walking out of the spiffy new production of Richard Greenberg's Take Me Out, my canny friend Tom, who was seeing the play for the first time, offered this quick take: "really interesting, bu…
The Legend of The Waitress & The Robber, a new musical theater piece by Renee Philippi, a Concrete Temple Theatre, Playfactory Mabangzen, and Yellowbomb collaboration, in partnership wit…
Review: Cathedral, directed by Shannon Rush for the State Theatre Company of South Australia Cathedral could not be more South Australian. This complex and challenging one-hander is the crea…
Why do we still remember theater that became history many decades ago? How do we remember plays that disappeared without a trace, physically gone, erased from memory? Wasn't Alexei Granovsky…
Celebrating Arab culture, the Liverpool Arab Arts Festival (LAAF) is gearing up for its upcoming edition to take place between 7 and 17 July across a variety of Liverpool's venues. Founded i…
Paula Vogel's How I Learned to Drive is, famously, the play that blew the lid off the subject of pedophilia in the theater. At its premiere in 1997 it was startlingly fresh and shocking"not …
Autistic adults in the United States are unemployed at estimated rates of more than 80%. Those who find stable work are just as likely to be underemployed. According to the Ruderman White Pa…
Review: Son of Byblos, directed by Anna Jahjah for Brave New World Theatre Company The downstairs theatre at Belvoir might be small but the energy conjured from Son of Byblos is mighty. Writ…
In 1999, Viviane De Muynck and Jan Lauwers set to work with the last chapter of James Joyce's Ulysses for the first time. Joyce's grandson, Stephen J. Joyce, explicitly forbade them th…
Of all of the performances and plays I have seen, this one stands out uniquely for several reasons. It is a collectively devised piece by three women of color who choose not only to create i…
Punchdrunk theatre, the eponymous progenitors of "immersive theatre," have been wowing their audiences worldwide since their early modest beginnings in Devon in the year 2000. Due to the nat…