As Black History Month draws to a close Andy dives recklessly into the arts punditsphere’s diversity conversation clusterf**k.
Tele-Violet’s Lady Han, which refracts the 15th century Noh drama through the goggles of an Americana fever dream, premiered at Incubator Arts Project this month. The emerging NYC theater company, led by stage director Katherine Brook, uses the classical Japanese text, Zeami in Royall Tyler’s translation, as a structure of longing for
Aretha Aoki’s Las Gravitas, a solo about making a solo, ran last weekend at Danspace Project, in a shared evening with Benjamin Kimitch who presented a duet between Julie McMillan and Claire Westby titled discontinuous sounds (his debut evening-length work).
So when I edited the third part of my essay on the Politics of Cultural Production in Theater, a bunch of stuff ended up on the cutting room floor for future consideration. This didn’t end up in the article but I still feel like it bears
“Everyone’s a Critic” at On the Boards is our latest iteration of live critical interventions
Part III of III, in which Andy discusses in broad strokes the economics of cultural production in theater, its aesthetic implications and hints at its resemblance to large national economic conditions.
Amazingly, artists don’t always respond to the chance to work for free with gratitude
On the second anniversary of the Egyptian revolution, Hani Omar Khalil talks with playwright Ibrahim El-Husseiny about his evolution as a political artist and the role of theater in the shaping of national discourse
It’s hard to know what to talk about first after seeing a play with robot actors. Last Friday, I saw the Robot Theater Project at Japan Society, a program of two plays, Sayonara and I, Worker. The Project is a collaboration between Seinendan Theater Company
Douglas Dunn’s Cassations, which ran last weekend at Danspace Project, opens with seven multi-colored flower sculptures scattered throughout St. Mark’s sanctuary, which are carried offstage by dancers in yellow ponchos while opening announcements are made. Onto the empty stage arrive Dunn’s twelve dancers, divided by
Editor’s Note: Responses to given shows have a short shelf-life. This is a response to a show that we didn’t originally intend to publish a response to, in fact. Originally, I intended to write an article about it myself. In the end, I shelved the
Looking anew at unconventional performance through the work of Arturo Vidich, Claude Wampler and Harrison Atelier