Category Archives: Plays
JAPAN SOCIETY’s wonder boy pitches “Baseball” in the U.S.
“God Bless Baseball marks the third time for Japan Society to present Toshiki Okada’s work,” said Yoko Shioya, Artistic Director of Japan Society
JAPAN SOCIETY’s wonder boy pitches “Baseball” in the U.S.
“God Bless Baseball marks the third time for Japan Society to present Toshiki Okada’s work,” said Yoko Shioya, Artistic Director of Japan Society
WITHOUT BORDERS | Screw Ingmar Bergman’s films. Go see his screen texts on stage, Sept. 3 to 5
What’s the point of seeking to certify a heartbreaking work of stagecraft by comparing it to Bergman’s cinema aesthetics?
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WITHOUT BORDERS | Screw Ingmar Bergman’s films. Go see his screen texts on stage, Sept. 3 to 5
What’s the point of seeking to certify a heartbreaking work of stagecraft by comparing it to Bergman’s cinema aesthetics?
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SOUTH KOREA | Seeking proposals for Center Stage Korea from presenters, performing arts centers and networks
The Korea Arts Management Service is considering project proposals submitted by international festivals, arts centers, and networks who will implement a project involving Korean performing groups/artists as part of their performance program.
SOUTH KOREA | Seeking proposals for Center Stage Korea from presenters, performing arts centers and networks
The Korea Arts Management Service is considering project proposals submitted by international festivals, arts centers, and networks who will implement a project involving Korean performing groups/artists as part of their performance program.
Performance review | Diverse City Theater’s nervy revival of Lee Blessing’s “Two Rooms” gives voice to voiceless
Diverse City Theater’s nervy production argues that Two Rooms has not lost an inch of topical relevance. The play has not lost its eloquence. It is a muted cry of rage.
Performance review | Diverse City Theater’s nervy revival of Lee Blessing’s “Two Rooms” gives voice to voiceless
Diverse City Theater’s nervy production argues that Two Rooms has not lost an inch of topical relevance. The play has not lost its eloquence. It is a muted cry of rage.
Native American News | Native Voices at the Autry gives “First Look” to suspenseful play by Native American actor, Oct. 25
If you are in the Los Angeles area, you might want to check out this reading, part of Native Voices’ signature FIRST LOOK SERIES: Plays in Progress.
Native American News | Native Voices at the Autry gives “First Look” to suspenseful play by Native American actor, Oct. 25
If you are in the Los Angeles area, you might want to check out this reading, part of Native Voices’ signature FIRST LOOK SERIES: Plays in Progress.
Currently in production | Play excerpt, models, design sketches for Pacific Beat Collective’s “Tala” at HERE Arts Center, July 28 to 31
“Tala” will perform in a workshop production July 28th to 31st at HERE Arts Center in downtown SoHo in New York City. The play, a work-in-progress, is a critique on the nature of political revolutions. Click here to read a play excerpt and see the work of the designers and actors as they prepare for the production.
Currently in production | Play excerpt, models, design sketches for Pacific Beat Collective’s “Tala” at HERE Arts Center, July 28 to 31
“Tala” will perform in a workshop production July 28th to 31st at HERE Arts Center in downtown SoHo in New York City. The play, a work-in-progress, is a critique on the nature of political revolutions. Click here to read a play excerpt and see the work of the designers and actors as they prepare for the production.
Play excerpt | Saviana Stanescu’s “4 Alice,” part 2 of “The Window” at Romanian Cultural Institute in New York
And you thought these actors were just making things up as they went along. Didn’t you? Admit it. You did. This is an exclusive excerpt from Saviana Stanescu’s play “4 Alice” for THE WINDOW installation/performance project
Play excerpt | Saviana Stanescu’s “4 Alice,” part 2 of “The Window” at Romanian Cultural Institute in New York
And you thought these actors were just making things up as they went along. Didn’t you? Admit it. You did. This is an exclusive excerpt from Saviana Stanescu’s play “4 Alice” for THE WINDOW installation/performance project
From Havana, Teatro El Público re-casts “Caligula” as gay tyrant
This Cuban take on “Caligula” “consciously uses Albert Camus’s play to subvert cultural norms and our concept of masculinity. Why can’t a homosexual be portrayed as possessing as much violence and cruelty as a stereotypical heterosexual male chauvinist character? What does it mean to be gay and masculine? And why are these two terms still thought of as mutually exclusive?
From Havana, Teatro El Público re-casts “Caligula” as gay tyrant
This Cuban take on “Caligula” “consciously uses Albert Camus’s play to subvert cultural norms and our concept of masculinity. Why can’t a homosexual be portrayed as possessing as much violence and cruelty as a stereotypical heterosexual male chauvinist character? What does it mean to be gay and masculine? And why are these two terms still thought of as mutually exclusive?
Performance review (NSFW) | Italy’s Ricci/Forte serves up queer fantasia in “Macadamia Nut Brittle”
Macadamia Nut Brittle is excoriating, sexy, hallucinatory, viciously funny. The plot steals from the mode of a reality-TV show, but its stance is subversive and punk. As the noisy evening unfolds, Ricci/Forte detonates, again and again and again, the illusory logic of this TV genre
Performance review (NSFW) | Italy’s Ricci/Forte serves up queer fantasia in “Macadamia Nut Brittle”
Macadamia Nut Brittle is excoriating, sexy, hallucinatory, viciously funny. The plot steals from the mode of a reality-TV show, but its stance is subversive and punk. As the noisy evening unfolds, Ricci/Forte detonates, again and again and again, the illusory logic of this TV genre
Performance review | Seeing the Romanian Cultural Institute’s “Window” through Alice’s looking glass
The Window is a unique theatrical experience, because enigma is a principal aspect of its charms. An inspiring two-part site-specific performance-design project created and directed by Ana Mărgineanu for the Romanian Cultural Institute in New York (RCINY), The Window asks you to pay close attention if you happen to stroll by RCINY’s storefront spaces.
Performance review | Seeing the Romanian Cultural Institute’s “Window” through Alice’s looking glass
The Window is a unique theatrical experience, because enigma is a principal aspect of its charms. An inspiring two-part site-specific performance-design project created and directed by Ana Mărgineanu for the Romanian Cultural Institute in New York (RCINY), The Window asks you to pay close attention if you happen to stroll by RCINY’s storefront spaces.
Play excerpt: Jeton Neziraj’s “Yue Madeleine Yue,” a tragicomedy about anti-Roma discrimination
The play tells the story of a Roma family that was forcedly expelled from Germany to Kosovo. In their new reality, this family confronts the challenges of living in a recently newborn state. One day, a Roma girl named Madeleine falls in a hole that was created by a construction company. The girl falls in a coma. As she fights for her life, her father strives to pursue justice. He faces bureaucratic officers, businessmen, policemen and embassy workers.
Play excerpt: Jeton Neziraj’s “Yue Madeleine Yue,” a tragicomedy about anti-Roma discrimination
The play tells the story of a Roma family that was forcedly expelled from Germany to Kosovo. In their new reality, this family confronts the challenges of living in a recently newborn state. One day, a Roma girl named Madeleine falls in a hole that was created by a construction company. The girl falls in a coma. As she fights for her life, her father strives to pursue justice. He faces bureaucratic officers, businessmen, policemen and embassy workers.
Plays from Scotland, Canada, Cyprus, Israel, Bulgaria, Latvia dip hotINK at the Lark, March 22-26, in NYC
NEW YORK CITY: I first met the Montreal-based playwright Suzie Bastien in Limoges, France, in 2005. At the time, she was developing a new work, Après. Her second play, LukaLila (Éditions Comp’act, 2002), had just received an award from the
Plays from Scotland, Canada, Cyprus, Israel, Bulgaria, Latvia dip hotINK at the Lark, March 22-26, in NYC
NEW YORK CITY: I first met the Montreal-based playwright Suzie Bastien in Limoges, France, in 2005. At the time, she was developing a new work, Après. Her second play, LukaLila (Éditions Comp’act, 2002), had just received an award from the
Review: Strange forms and cautionary parable flicker in Nic Ularu’s “Hieronymus Bosch”
“Hieronymus” pulses in that liminal space in between dramatic representation and visual abstraction. It’s a picture book of a play. It’s a meditation of the plight of the artist today and a hybrid re-composition that celebrates that artist’s singular voice.
Review: Strange forms and cautionary parable flicker in Nic Ularu’s “Hieronymus Bosch”
“Hieronymus” pulses in that liminal space in between dramatic representation and visual abstraction. It’s a picture book of a play. It’s a meditation of the plight of the artist today and a hybrid re-composition that celebrates that artist’s singular voice.
“Macbeth After Shakespeare” (Slovenia/Croatia) muscles its way into brilliance
A collaboration between Mini Teater Ljubljana (Slovenia) and Novokazalište Zagreb (Croatia), director Ivica Buljan’s Macbeth After Shakespeare forces us to viscerally come face to face with the naked and overbearing fact that the pornography of power is both beautiful and disturbing to look at. It seduces and repels and provokes.
“Macbeth After Shakespeare” (Slovenia/Croatia) muscles its way into brilliance
A collaboration between Mini Teater Ljubljana (Slovenia) and Novokazalište Zagreb (Croatia), director Ivica Buljan’s Macbeth After Shakespeare forces us to viscerally come face to face with the naked and overbearing fact that the pornography of power is both beautiful and disturbing to look at. It seduces and repels and provokes.
