Category: theater (dramaturgy)

A Collective Call Against Critical Bias

[image caption: Playwrights Lucas Hnath, Lynn Nottage, Paula Vogel , and J.T. Rogers nominated for Best Play Tony Award 2016-2017. Photo by Marc J. Franklin.] I am one voice among two dozen signatories to this piece that addresses selected critical response to several New York shows in the 2016-2017 season, and raises some questions about the

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Parity, Politics, and Survival: WiTFESTNYC 2017

[article as originally published in  The Brooklyn Rail, June 2017, posted May 28, 2017.] This June, the Women in Theatre Festival (with its creatively capitalized WiTFESTNYC tag) will unfurl its second year of programming, helmed by Project Y Theatre Company artistic director Michole Biancosino. Project Y, which Biancosino co-founded nearly 20 years ago in Washington,

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Roundtable: Is Jesse Green the right choice for the New York Times?

[I am one voice among many in this article originally published by “Exeunt Staff” in Exeunt Magazine, April 10, 2017.] As yet another white man is hired to the most prestigious job in US theatre criticism, Exeunt’s New York writers ask when the conversation will really change.   After theater critic Charles Isherwood was fired,

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Wrestling With the Legacy of a Real-Life Attorney

[article as originally published in TDF Stages, March 1, 2017.] A new play takes on William Kunstler — Playwright Jeffrey Sweet was inspired by a shock of hair and a lanky swagger. “It started off as a fairly pedestrian impulse,” Sweet says of his play Kunstler, about the activist attorney William Kunstler. “As I was watching the

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A Most Visible Baby Mama on Multiple Births

[article as originally published in The Clyde Fitch Report, January 24, 2017.] [feature image caption: Mariah MacCarthy. Photo: Kacey Stamats.] Edgy and sweet, tenacious and joyous, raucous and calm, crude and demure: Mariah MacCarthy long has been refining a theater of extremes. This self-described “writer/producer/creatrix” co-founded Caps Lock Theatre in 2012 and has been perfecting her craft for years.

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2016: excavation review themes

  After six annual marathons captured in “what Martha has seen” lists of theater and film adventuring (2011, 2012, 2013, 2014, 2015, 2016), I’ve learned a few things. I’ve learned that sometimes theater gluttony can build personal knowledge but impede creative critical output. I’ve learned that it’s a great privilege to be among the frequent

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Why Does a Play About the Internet Have a Realistic Set?

[article as originally published at TDF Stages, December 13, 2016.] The meaningful space of Tiny Beautiful Things. It might be about strangers communicating on the vast and anonymous internet, but Tiny Beautiful Things is a play of personal moments and intimate environs. Now playing at the Public in their Shiva Theater space, the show adapts

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After Orlando: International Rapid Response Theatre

[article as originally published in Exeunt Magazine, December 12, 2016.] [Featured image caption: After Orlando reading in St. Louis, Missouri November 14, 2016. “Dance On” by Ian Rowlands. Image by Joan Lipkin.] NoPassport Theatre Alliance and Missing Bolts Productions present their “theatre action” After Orlando as an outlet for rage and grief after the Pulse

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“Pop!”-Up Theater Extends Venues and Audience Experiences

[article as originally published in The Clyde Fitch Report, November 15, 2016.] [featured image caption: A Scandal at the Table, September 24, 2016 at Hell Phone. Photo: Edward Morris.] “I wanted people to just be able to happen upon it and see something weird and go: what was that?” Dramaturg Kelly Kerwin reflected recently on her

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dramaturg as producer | KELLY KERWIN

[article originally published in LMDA’s newsletter New & Noteworthy Issue 2.2 November 2016. A longer version of this interview appears in The Clyde Fitch Report.] [featured image caption: A Scandal at the Table performance September 24, 2016 at Hell Phone. Actor working the crowd. Photo: Edward Morris.] Over the past decade, Kelly Kerwin picked up degrees in

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