Author: Amelia Parenteau
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My Experience Working On AMERICA IS HARD TO SEE
Every story needs to be considered individually for us to have any chance at finding something that looks like justice.
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Ensemble Studio Theatre: It’s Not a Sprint
Is a one-act the most intentionally ephemeral storytelling? Or a prelude to a more extended version of itself?
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PLUTO (no longer a play)
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 […]
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World Builders: a love story
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 […]
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How to Hamlet, or Hamleting Hamlet – a response
One of TRE’s greatest distinctions as a New York company (in my opinion) is that they are always playing onstage
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Leigh Fondakowski’s SPILL at Ensemble Studio Theatre
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 how aware he was of the risk of his profession?
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Nibbler @ Rattlestick
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 alien touch […]
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GIRL X at the Japan Society
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, […]
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The Beauty Queen of Leenane – Amelia Parenteau Responds
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 […]
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Wonder/Through the Looking Glass Houses
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 to its stre
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Goat in the Road’s NUMB – Amelia Parenteau Responds
When I had my wisdom teeth extracted this past summer, all anyone wanted to tell me about was the rash of fatal opioid overdoses sweeping the nation, offering cautionary tales […]
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Anna Christie – a response
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.