When there’s nary an obvious mention of God in a play titled A Case for the Existence of God, what represents the play’s titular deity is open to interpretation.

Where were you when the ending didn’t drop?

You may question the wisdom of a production that deliberately inflicts physical discomfort upon an audience for dramaturgical purposes.

A play’s dramaturgy often serves to make the audience’s viewing experience reflect what the characters’ lived experience feels like.

In the wake of the Signature Theatre’s revival of Twilight: Los Angeles, 1992, much has been made about the racial implications of turning a one-person Anna Deavere Smith play into a multi-cast affair.