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The Hearth’s “RACECAR RACECAR RACECAR” : Where Words Sooth, Erode, and Attempt to Remedy
Windows down. Music blasting. The wind in your hair. Exit signs, strange billboards, a succession of identical-looking sleepy little Midwestern towns. A clutch of empty 40s and tequila bottles clinking
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Elevator Repair Service’s GATZ returns to The Public
In one night, you are allowed to experience the character’s thoughts and emotions in real time, and truly imitate the feeling of working an entire 9-5 shift.
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Rafika Chawishe: The Body as a Theatrical, Political Instrument
While there is a great intensity that comes with Chaiwshe, there is almost a child-like wonder that dictates her practice.
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What happens in the pause? PAGEANT Presents: Cavity by Amelia Heintzelman with Dorothy Carlos
Last November, after dancing together in Alexa West’s Occasion, occasion, occasion at the 2023 Performa Biennial, Amelia Hientzelman asked me if I’d like to do some dramaturgy for her. We
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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
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Prairie Dawn by Molly Lieber and Eleanor Smith
Molly Lieber and Eleanor Smith’s Prairie Dawn premiered at Roulette in Brooklyn on November 14th, 2024. This is a Black cis man’s interpretation of their work.
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Gaps and Loops: Richard Foreman in conversation with Travis Just and Kara Feely (Object Collection)
Richard: Loops are mankind’s greatest invention. [laughs]
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Embodied Intersections: Theatre, Dance, and the Art of Transformation in Testing²
“When a piece lingers for a few days, you realize it had an effect on you.”
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“Sharing space, for me, is everything”: Modesto “Flako” Jimenez’s Mercedes, Part 1, December 3-8 at BAM
“There’s that reminder of the essence of what a show can do to people that are not from that world of theatre. It’s beautiful.”
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Unplanned Relevancy: Jonathan Spector on The Broadway Premiere of “Eureka Day” at Manhattan Theatre Club
Trump’s second presidency will change our lives, though the details of how are not yet clear. This was on playwright Jonathan Spector’s mind the morning of November 8th ahead of
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An (Accessible) Trojan Woman
…this radical idea that we take care of our own species, you know? Our own species! When I say it doesn’t have to be this way, it really doesn’t. It’s our choice.
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The Rites of Night: When Dance Heals in Communion
In the dark, anticipatory hush after the house lights go down, five male performers enter the stage at New York Live Arts and sit in a circle – an ancient
