Category: Responses
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Cameron Stuart in conversation with Theresa Buchheister | VIVIAN OBLIVION at The Brick Theater Oct 9-12
Do acts of kindness beget rewards? Do we become deeper by adding depth to others? It is hard to say, actually; I think the verdict is still out. But we have all the evidence we need, from history and from our own lives, that violence only begets more violence.
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Where Colors Have Meaning and Theatre Isn’t A Play: Julio Torres’ COLOR THEORIES
Color Theories by Julio Torres is not an Off Broadway Play. It may look like a play, sound like a play, smell like a play, but Julio assures us, it’s not a play. No no no, there was a mistake made along the way in the marketing, he tells the audience, who all gathered to…
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Liba Vaynberg’s Jewish, Fannish Dramaturgy
The Matriarchs: detailed, metatextual, instructive, joyful, pleasurable, cozy, unexpected, provocative, and confidently obsessed with the inner lives of women at the margins of a male-dominated text.
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Is This Government?: Anachronism and Democracy at 59E59
As a writer, my primary focus is the infrastructure – social and built – of New York City. This summer, I found myself in a predicament. I had the opportunity to interview one of our preeminent immigration activists, Ravi Ragbir; the problem was each day that passed, my introduction became more and more out of…
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Thinking About Scales of Space and Time Differently: An Interview with Emily Johnson & Kai Recollet, The Minds Behind The Kinstillatory Fires
In mid May, I sat down with choreographer Emily Johnson and scholar Kai Recollet to discuss their ongoing “kinstillatory fires” project—gatherings that bridge dance, decolonial practices, Indigenous kinship, care, and their own friendship. Speaking from their respective homes in Lenapehoking and Toronto, Emily and Kai spoke to me about origin of their relationship, the political…
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A Forced Distinction Between Human and Non-Human Animals in Sophie McIntosh’s ROAD KILLS
Non-human animals are so often conceived of as wholly different from us: incapable of understanding emotions, governed by primal instincts alone, without agency. As human animals, we sometimes are confronted with the outer barriers of this distinction — the pet dog that is “part of the family,” the gorilla that can say “I love you”…
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Transcending A Gimmick: Pocket Ghost and As We Were Production’s OFFICE PARTY PLAY
“Why are you being so weird?” My fiancé leaned over and whispered in my ear. We had just been introduced to the Director of Communications for a book launch held in an office in Midtown and apparently, from his standpoint, I did not act cool or in any way collected. I will admit that I…
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Enacting Immersion: Audiences ACT UP in David Wise´s Immersive FIGHT BACK!
Outside the LGBT Community Center, it was August 18, 2025, but as soon as I stepped into Room 101, I went back in time. People were wearing black t-shirts with the words SILENCE = DEATH blazing on them below a giant pink triangle, as well as white tees with a giant red handprint on it.…
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In FOR MORGAN, Nicky Paraiso Remembers and Reminds Us That Art Is Dangerous
As he stepped up to his piano at the beginning of For Morgan, Nicky Paraiso looked out the intimate audience at Pangea restaurant. “It feels like family in here,” he said. Sometime in the fall of 2023, Morgan Jenness (she/they) told Paraiso that she wanted Paraiso to sing and perform an evening-length cabaret for her…
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Noa Weiss on AMERICAN IDLE by Maia Chao choreographed by Lena Engelstein
People perform for their phones, people perform for each other. We continue to watch.
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Loving Doubles: A Search for Connection in Mamie Green’s LONELINESS TRIPTYCH
The performance starts before it begins. A rug unfurled; A stretch to prepare; A folding chair opened to reveal the flat steel plane of its seat. There are bells ringing in the audience. Loneliness, as such, is a texture of one’s mind—the contours of the thoughts that we hold in relation to ourselves and others;…
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“Make me possible”: Dealing with Precarity in Caryl Churchill’s GLASS. KILL. WHAT IF IF ONLY. IMP.
A glowing platform. A cloud. A white box. A living room rug. These are the four settings of Caryl Churchill’s series of one-act plays presented this past spring at the Public Theater under the catch-all title Glass. Kill. What If If Only. Imp. Written separately, Churchill’s short, punchy pieces range from the absurd (a girl…