Theater Direction

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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.

David Levine by James N. Kienitz Wilkins
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Body swapping, infinite loops, and ’70s conspiracy thrillers haunt the dynamic performances of a movie-loving artist and the actors he works with.

Dmitry Krymov by John Freedman
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“I asked my students for the image of the essence of tenderness. One girl brought in a small, silver plate with a bunch of grapes neatly laid out on it. When I noticed she had stripped the skin off the grapes, I got goose bumps.”

Lisa Dwan & Walter Asmus by Michael Coffey
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”I am not a human being up there, true, and I am not a woman. I’m consciousness.”

600 HIGHWAYMEN by Ben Gansky
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The opposite of transportation.

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

Jay Scheib by Alix Pearlstein
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“I’m somewhere between Bresson, Godard, and the NBA.”

Federico León by Richard Maxwell
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Federico León’s recent Las multitudes was staged last year in Argentina. For Richard Maxwell, the playwright-director’s production is a “brokenhearted humanity tale.” A heroic one, at that, with 120 actors.

Federico León (en español) by Richard Maxwell
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Federico León’s recent Las multitudes was staged last year in Argentina. For Richard Maxwell, the playwright-director’s production is a “brokenhearted humanity tale.” A heroic one, at that, with 120 actors.

David Greenspan’s The Myopia and Other Plays by Anne Washburn
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David Greenspan’s plays are at once grotesque and beautiful; they pontificate on meta-theater and self-consciousness, while remaining familiar and intimate.

Jan Lauwers by Elizabeth LeCompte
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Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.

Kate Valk by David Salle & Sarah French
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“I worked at Shepherd-Pratt mental hospital, and I liked to take my name tag off and maybe be confused for one of the patients.”

Ben Katchor by Alexander Theroux
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Ben Katchor is a recorder of vanished and vanishing places, a poet of the vast metropolis of New York. He notices, crucially, what others walk by, fail to see and generally disregard—a man living in the mosaic while seeing its details. 

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.

Martin Sherman by Sander Hicks
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Martin Sherman’s Bent played on Broadway in 1979. Since then, the playwright had been living in London. In 1998, with A Madhouse in Goa and the film version of Bent, Sherman returned to the States with a vengeance.

Helen Mirren by Peter Eyre
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Don’t miss Helen Mirren in The Debt or issue 52 of BOMB. So take a flashback just like they do in the film, but to 1992, and check out Helen Mirren’s conversation with fellow actor Peter Eyre.

Liz Diamond by Marc Robinson
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Director Liz Diamond talks about her behind-the-scenes strategies in this 1995 interview. 

María Irene Fornés by Allen Frame
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Allen Frame talks to playwright and director María Irene Fornés, author of several plays including the Obie-winning MudDanube, and Sarita.

JoAnne Akalaitis by Craig Gholson
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JoAnne Akalaitis discusses the history of Mabou Mines, the avant-garde theater company, and her various projects.

Nightshift by Allen Frame
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Nightshift presented a season of Joe Orton’s Ruffian On the Stair, Heathecote Williams Local Stigmatic and three James Purdy plays during the summer and winter of ‘82.

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