Theater

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Getting Unfragmented: Sean Lewis Interviewed by Nova Benway
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“The looks we get at reality are really only guesses.”

Suzanne Bocanegra by John Haskell
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By casting actors to perform as herself, Bocanegra considers “the nature of presentation itself.” Lili Taylor stars in her Farmhouse/Whorehouse at BAM’s Next Wave Festival this December.

Ieva Misevičiūtė by Melanie Bonajo
Ieva Miseviciute Bomb Magazine 01

A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.

Guillermo Calderón’s Villa by Tom Sellar
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It takes a rare kind of playwright to evoke the head-spinning contradictions in our national political psyches.

Thomas White by Nicholas Elliott

“If someone hands over their repertory theater group to you, what are you going to do with them?”

Paulina Olowska’s Slavic Goddesses—A Wreath of Ceremonies by Charity Coleman
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A feminist paean from one Polish artist to another

Olivier Assayas by Alex Zafiris
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Time, sharing pain, and theater versus cinema.

Charlie Victor Romeo by Gary M. Kramer
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Transcripts, technical language, and airline disasters.

Melvin Van Peebles by Lee Ann Norman
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Artistic development, near-death experiences, and the power of persistence.

Eugène Green by Nicholas Elliott
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American-born French director applies the paradox of the Baroque worldview to the composition of his films, and most recently, to La Sapienza. Nicholas Elliott probes Green’s interest in the tension between spirit and reason.

chameckilerner by Eve Sussman
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“We wanted to make a sea of flesh. But it was impossible. Throughout the process we had to reveal the personality of each performer to be able to get to the sea of flesh.”

Matías Piñeiro by Clinton Krute
Todos mienten

Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.

Infinite Jest, HAU Theater by Michael Schmelling
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Infinite Jest, David Foster Wallace’s monumental tome is performed over a period of 24 hours in ten different locations in Berlin.

Rocks and Gravel: Jay Scheib by Alex Zafiris
​Jay Scheib

Alex Zafiris talks to theater director, writer and media designer Jay Scheib about his recent play,World of Wires, which closes his trilogy, Simulated Cities/Simulated Systems.

Ismet Prcic by ​Matt Jakubowski
Ismet Prcic as a young man.

Matt Jakubowski talks with multi-talented writer Ismet Prcic about his new autobiographical novel,Shards, American theater, and the importance of experience and writing during and after wartime.

The Myopia at Atlantic Stage 2
Myopia1 Homepage

It is about the articulation of the literary and physical voice that I write about here, after having seen David Greenspan’s sublimely written and performed The Myopia, produced by The Foundry Theater and closing this weekend, on February 7.

Afterword to the play Alice Invents a Little Game and Alice Always Wins by Nick Flynn

When asked what his plays were about, Harold Pinter once famously and facetiously replied that they were all about “the weasel under the cocktail cabinet.”

Antony by Charles Atlas
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The first time I saw Antony perform was November 1992; he was onstage at a downtown club with Johanna Constantine and Poison Eve, two other original members of the Blacklips Performance Cult. 

Neil LaBute by Jon Robin Baitz
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In a letter to Mrs. Patrick Campbell, written in November 1912, George Bernard Shaw cleverly described himself as follows: “He will fill his fountain pen with your heart’s blood, and sell your most sacred emotions on the stage.

Cornelius Eady by Patricia Spears Jones
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On a beautiful day in October, Cornelius Eady and I sat in a Sixth Avenue diner to talk about writing, art, politics, theatrical collaboration, and yes, the events of September 11.

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