I squeezed adventures in Norway, Sweden, the wilds of central Wisconsin, Georgia, Massachusetts, and Rhode Island into 2019, a year of paring, sifting and sorting of involvement on professional boards and continuing […]
Live and filmed performances, as well as readings of works in progress, filled my days in calendar year 2018. I usually attend solo, and yet often host my spouse or theater-obsessed friends […]
[article originally published in HowlRound, June 12, 2018.] The Rest I Make Up is a poetic rumination by filmmaker Michelle Memran about playwright María Irene Fornés, now in her late 80s and living with late-stage Alzheimer’s. […]
[article originally published in HowlRound, May 2, 2018.] Several coincidences align to admit me to design meetings, workshop readings, and rehearsal rooms for One Thousand Nights and One Day[OTNAOD], a musical based on Jason Grote’s […]
Simplifying, complicating, simplifying again. This has been a year of expanding and paring involvement on professional boards and projects, resuming old roles and assuming new ones. I continue into 2018 on the […]
[article originally published in HowlRound, September 8, 2017.] Ethan Lipton has assembled a creative family of musicians and designers who have worked with him on a series of projects in New York and around […]
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 range […]
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 […]
[article originally published in HowlRound, September 6, 2016.] Playwright and lyricist Ethan Lipton creates fun theatrical worlds and lyric-driven music about socially-relevant topics. In Red Handed Otter, for example, produced by The Playwrights Realm […]
[article originally published in HowlRound, June 21, 2016.] Theatremaker Ramesh Meyyappan has opinions about the cultural position of “deaf” or “signed” theatre and its role in his own art including his most recent […]
