Author: Eve Bromberg
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The Selves We Were and The Ones We Are Becoming
Eve Bromberg talks to dancer, choreographer Claudia Hilda whose new work “Neither Here, Nor There – The Migrant Body” is currently on view at CARVALHO in Williamsburg
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In Conversation with Celine Song
Celine Song talks to editor Eve Bromberg about her play Family, working across theater and film, and the limitations of Starbucks.
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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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Site Specific Theatre is The Niche That Keeps On Giving: A Conversation with Maddie Cardarelli and Shelby Gilberto, the Creative Team of OFFICE PARTY PLAY
Site specific work is notoriously hard to justify. Dramaturgically, the decision to stage a play any location other than a stage can often collapse into a gimmick: a sparkly choice without much depth. This, however, was not the case with Office Party Play directed by Ghost Pocket Productions’ (a co-producer of the show along with…
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Shaping The Moment Towards What it Seemed To Be Becoming: A Conversation with Eliya Smith on her Off-Broadway Debut GRIEF CAMP
Sitting down to work this afternoon, I selected to play my “On Repeat” playlist on Spotify: a selection of songs, continuously played, curated both by and for me. As I started this paragraph, Doris Day’s Ohio started to blare from my computer, fittingly so because it was that song that was included in the…
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“He resists the very tempting urge to wink”
Editor Eve Bromberg in conversation with Mona Pirnot on I’M ASSUMING YOU KNOW DAVID GREENSPAN, her Meta Masterpiece at The Atlantic Theater.
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On Rhythmic Utterances, The Catharsis of Musicality, and Destabilizing Interactions: A Conversation with Playwright Abe Koogler
When Deep Blue Sound announced its residence at The Public Theater, the playwrights in my MFA program were thrilled. Their response gave me an inkling as to what kind of playwright Abe Koogler must be: a playwright’s playwright, the type of writer that younger practitioners admire for a fresh take on the form. In speaking…
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An Archive on Floppy Disks: A Conversation with Jennifer Ashley Tepper of THE JONATHAN LARSON PROJECT
The musical Rent plays an important role not only in the history of American musical theatre, but also in the lives, hearts, and minds of that special class of earnest young people: The Theatre Kid. While I was not one formally, the soundtrack of Rent played so frequently throughout my childhood that the songs feel…
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In Her Solo Show MY WAY, Isabel Monk Cade Confronts and Then Arrives Home
I first heard Isabel Monk Cade read her essay My Way–which has since become, through a collaboration with director Joy Donze, a fully-staged solo show– as part of The Dogtown Reading Series in January 2024. I was struck. Her writing was so unvarnished. In front of a packed house in a loft on Elizabeth Street…
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Trying Too Hard
There are few things as infuriating as watching a choreographer attempt and fail at being original. I have often had this feeling while watching the work of Pam Tanowitz for New York City Ballet. In Bartok Ballet, her second commission for the company, Tanowitz breaks convention by sending a dancer– in this performance ballerina Miriam…
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“There’s nothing like a fertile misremembrance”: A Conversation with Jerry Lieblich and Paul Lazar on The Barbarians at La MaMa
When I scheduled my interview with Jerry Lieblich and Paul Lazar—in preparation for the latest run of The Barbarians, Jerry Lieblich’s unfurling meditation on rhetoric and power (and the power of rhetoric) with Lazar’s direction at La MaMa starting this February 14th—I emailed them beforehand begging them to, when we met, be weird. I had…
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After The Connelly’s Closure: A Conversation with Julia Greer on The Hearth’s Displaced Commission RACECAR RACECAR RACECAR
“It couldn’t happen here” was the reaction most theater-goers had to the news of the closing of the East Village’s The Connelly Theater by the building’s landlord: The Roman Catholic Archdiocese of New York. After years of being a home for original, thought-provoking, more challenging, gender-questioning, plays and performances, the Archdiocese started to take a…