Suzan-Lori Parks revisits her 1993-94 interview by Han Ong. She assures us that “all these years later I’m still growing as an artist, as a person. XOXO”
The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.
The Irish playwright on grief, adaptation, and the possibilities of form.
The final part of a performance trilogy on climate change, Falling Out fuses puppetry, Butoh, and Flex, to reflect on the Fukushima Daiichi nuclear disaster.
The award-winning television writer traces inherited traumas in her debut stage production.
An ecumenical, eccentric, ecstatic, illegible, undigestable stew.
The gendered history of lobotomy.
Putting diverse cultural and aesthetic traditions in dialogue, Schaal’s new performance work, Jack &, is a comedy of errors based on prison reentry programs and debutante balls.
The third in a series of plays inspired by the Divine Comedy.
The playwright discusses his formative years, rejuvenation of historical material, and how race is coded into theatergoing itself.
“The looks we get at reality are really only guesses.”
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.
A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.
It takes a rare kind of playwright to evoke the head-spinning contradictions in our national political psyches.
“If someone hands over their repertory theater group to you, what are you going to do with them?”
A feminist paean from one Polish artist to another
Transcripts, technical language, and airline disasters.