Category: Interviews
-
Conjuring a World of Complex Williamsian Women: A Conversation with Co-Artistic Director of The Fire Weeds, Jaclyn Bethany
As a playwright, there’s something very special about an early draft – unedited and raw, a jumble of ideas that tumble out in the most honest and immediate way. There’s the potential for so much to happen, and then subsequently for anything to happen. Another draft is written, then another and another, and so on.…
-
On Formulating of a Dance Ecosystem: A Conversation Taylor Schmuelgen and Kayla White, producers of THAT SHOW
When I moved to New York in 2022, I was twenty-two, and I wanted to make dances. I knew a lot of artists my age and was lucky to have lots of great friends who had other great friends. (Maybe this is what our dance professors meant by “networking.”) When I started an internship at…
-
“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.
-
Who’s Your Leader? Kelly Bartnik on The Death of Rasputin and Why Everything Might Be a Cult
Spring is in the air and, amidst the horrors, new productions abound! I caught up with Kelly Bartnik of Artemis is Burning to discuss upcoming previews for The Death of Rasputin, an immersive show taking over the LMCC Arts Center at Governor’s Island. The Death of Rasputin, set in Petrograd, Russia, 1916, chronicles the lives…
-
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…
-
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…
-
In Conversation with I’M REPEATING MYSELF Playwright Chad Kaydo
Kaydo knows that theatre is the perfect medium to reflect impermanence, and the specter of death is inside every breath of this play–but Kaydo has a light touch. He lets us listen and find the echoes and connections ourselves.
-
“hope organ” takes on politicizing shame and dance synesthesia
Which I think says something meaningful about fantasy; materials become less messy and people become more one-dimensional and places become infinitely reachable and the perfect temperature in our minds.
-
“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…
-
A Very Serious Unserious Dance and Some Rigorous Instructions for (Queer) Joy?
Theo Armstrong describes some cool moves and asks Noa Rui-Piin Weiss and Miranda Brown some silly yet probing questions after seeing !!simon says~~!:));)$$ Presented as part of the Out-FRONT! Festival 2025 by Pioneers Go East Collective in partnership with BAM and Judson Church The dancers lie on the floor. As Noa and Miranda lie on…
-
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.
-
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…