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.
We share our sweat, our humidity, our heat. We weather it, as Kelly does inside the box.
Though their insular world went weird, and quickly, I was there, because they were there. Davis and Markey have the attunement to one another that only comes from a sustained exposure to the other’s way of standing, talking, moving, being-in-the-world.
We, as a culture, seem to be searching for answers that black futures may provide us.
Responding to CUTE ACTIVIST at the Bushwick Starr: “Does this play want me to ‘like’ it or to ‘crying face’ it?”
She exists, she conjures, she illuminates through whisper and scream.
JOURNALS FROM THE DEAD: A week inside the process of Heather Christian’s Animal Wisdom as told by musician / actor / filmmaker, Maya Sharpe
Animal metaphors are used to inspire and describe the texture of the words and atmosphere.
Daaimah Mubashshir in conversation with fellow playwright Phillip Howze on his play, Frontiéres sans Frontières, at The Bushwick Starr. Playwright Phillip Howze is a name you want to know if you like your theater to have some social electricity. Personally, I prefer a little sizzle
Benson’s voiceover technique does all the good stuff and almost none of the bad stuff that you usually get from utilizing a narrator in the theater.
A conversation with playwright Kate Benson and director Lee Sunday Evans on their new play, [PORTO], at The Bushwick Starr
Let us cry, but not while we’re making theater. Or fine, cry, but that’s not what this is about.
I’ll Never Love Again transcends one woman’s story to become a kind of inter-generational love letter to the fleeting intensity of adolescence and the lives we led before our skins solidified into patterns made by love, loss, and time.