The Years, or: when trigger warnings double as dramaturgy.
Continue reading “Trigger Unhappy”
The Years, or: when trigger warnings double as dramaturgy.
Continue reading “Trigger Unhappy”
The title number in Real Women Have Curves strikes a similar chord as the first scene of Act II in Bess Wohl’s Liberation.
Continue reading “Full Monties”
Attention spans are fickle.
Continue reading “The First Gaffe”
Differentiation is a form of highlighting.
Continue reading “In Ourselves”
A technical difficulty during my performance of Boop! doubled as a lesson in staging.
Continue reading “Oops”
What’s up with British productions staging moments in which their actors exit not only the stage, but the entire theater?
Continue reading “Exeunt”
Vanya is about to offer New Yorkers a rare experience.
Continue reading “Vanya and Vanya”
Does London’s Almeida Theatre have a contract stipulation that each and every one of their transfers must retain the building’s natural backdrop?
Continue reading “A Streetcar Named Almeida”
Casting can change the meaning of a play.
Continue reading “Miniatures”
It’s been said that the bedrock of theatrical expression is the movement of bodies in space.
Continue reading “Bodies Bodies Bodies”