John Gutierrez’s view from Miguel Gutierrez’s “This Bridge Called My Ass”
John Gutierrez writes from inside “This Bridge Called My Ass” from Miguel Gutierrez
The Intimate Process of DUET-ED
It shook me, as the kids say. And I see a lot. And experience a lot. And I felt shook.
Five Questions with Lucy Powis
So you’re a dramaturg. What inspired you to pursue dramaturgy? I discovered it while I was in undergrad as a devised theatre major. At that point, I was a bit of a generalist, as we were encouraged to be—I’d done some acting, directing, writing, stage
Planes, Twains, and Safety-belt Spiels: An Interview with Eliza Bent
Being on a plane you’re just constantly being confronted with your own mortality. Or at least I am.
Readying Above and Below: “revolutionary new moon in aquarius” at ISSUE Project Room
And, yet, we are here, re-fashioning community and remaining soft in a building of stone. The monuments are crumbling. We can take an ax to their base or let them dissolve to the dust of their origin story.
Peeling back the layers of SKIN
Wearing the mask in no way erases the company’s differences, but rather unites them as they all create together on a level playing field.
The Magic of Diana Oh’s THE INFINITE LOVE PARTY
There is an open mic and a fantasy slow dance to memories yet to occur, and a dance party that is pretty cute. I fall in love for exactly 15 minutes and it’s the best.
Nora’s Children are Millennial Artists in A DOLLS HOUSE, PART 3
Michael + Patrick seem to be rebelling against the theater’s ruling class: kitchen sink dramas, heady idea plays, and — worst of all — amusement park attractions masquerading as Broadway musicals. And so Michael + Patrick have created something else, something other.
Half Straddle’s IS THIS A ROOM at the Kitchen
Tina Satter’s direction and Half Straddle’s pitch-perfect company establish and then maintain an unblinking focus that cuts through the dissipating fog and rewards the audience’s taut attention.
Making and Shaping Work as Artists and as a Cohort
Considerations of how to communicate certain ideas, evoke abstract affects, and share stories explicitly offer possibilities for shared dialogue.
Theater and Intimacy: A Conversation with Caitlin Ryan O’Connell & Xandra Clark
In Polylogues, the audience is watching me, and specifically me trying to listen. You’re watching that effort.
Sex Werk: Jeremy O. Harris’ Slave Play
If fantasy has the power to instantiate, and maintain such debilitating power structures, could it also be the very force required to undo them?