When should we fight the good fight? When do we surrender to survive another day, and when should we give up and put on the comfortable armor of cynicism?
In 2014, internationally renowned playwright Suzan-Lori Parks began her much-discussed “Watch Me Work,” an occasional performance on Monday evenings in which audiences can quite literally watch Parks working on her newest writing projects on the mezzanine of the Public Theater in New York.
If you check out what Austin’s Long Center has in store for its 10th anniversary season, you’ll find theater, dance, music of many genres, and more. But the bill of fare leaves out a staple of performing arts centers nationwide: Broadway shows.
When Tony®-Award-nominated director and choreographer Dan Knechtges took the helm of one of Houston’s oldest and largest theater companies, Theatre Under the Stars, he knew the artistic director title might require steering the organization through some stormy times, but he likely wasn’t ready for a real hurricane.
In May 2018, Teresa Coleman Walsh published an essay on HowlRound, the popular online platform for theater makers sponsored by Emerson College, titled “The Ugly Truth about Arts Institutions Led by Women of Color.”
A death in the family, the loss of a home, a call to leave a familiar position or job and head out alone are the kinds of dramatic life changes all of us, including artists and companies, are likely face sooner or later.
In a newly rehabbed, 75-seat black box theater, tucked behind Peticolas Brewing Company in the Dallas Design District, two men are pretending to tour a home.
Name an insult, and I’ll bet it has been lobbed at me — online, of course, because saying hateful things to someone’s face requires a level of energy that few people possess.
Science fiction has photon-torpedoed and robot-revolted its way into conquering almost every contemporary storytelling medium, with the possible exception of theater.