Tag: Martha Wade Steketee

‘The Price of Thomas Scott’ Offers Social Themes, a Dutiful Daughter, and Dance Breaks

The Mint Theater will unfurl a trio of plays this season by Elizabeth Baker (1876-1962), a woman of religious upbringing who worked in her family dry goods business as a teenager and in London offices in her twenties and thirties, where she discovered theater and began to write plays. The Price of Thomas Scott, the

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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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Exeunt New York’s Most Memorable Shows of 2016

[I am one voice among many in this piece that asked NYC based Exeunt contributors to nominate one (or in some cases two) productions that haunted us, rather than our top 10 or 15 or more. Originally published by “Exeunt Staff” in Exeunt Magazine, December 31, 2016.] Rather than a Top 10 list, the critics

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Hamilton: A Critics’ Dialogue

[I am one voice among many in this article originally published by “Exeunt Staff” in Exeunt Magazine, October 31, 2016. All New York production photos by Joan Marcus.] Overwhelming levels of Hamil-hype have surrounded Lin Manuel Miranda’s Founding Fathers musical since it opened Off-Broadway. Exeunt’s New York team debate how the Hamilton phenomenon influences their

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drama desk adventure 2012-2013 wrap up

A season year of theatre going  — over 250 shows for Drama Desk consideration as well as a substantial additional number of concerts and readings and other events addressing other interests and work obligations — has been marked by several events over the past few weeks. One involves a group of people working through a

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drama desk adventure begins

Writing about theatre comes from passionate engagement for me. For years I wrote and spoke about the theatre I read and saw and consumed in personal handwritten journals, in academic papers, in quiet conversations with friends and colleagues. Over the past six years this passionate and personal engagement has become something else, something more public

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