An LED screen in a stairwell of the museum displays an unforgettable picture. A row of Baltic beachgoers lounge in the foreground; shirtless and suntanned, they recline within reach of the advancing surf. Their attention, and ours, is fixed on a figure some yards out at sea. Perched above the waves on a stepladder, arms raised like an uncanny celebrant, stands a man in a tuxedo: he is conducting the waves.

​Two-time Tony Award-winning actor Mark Rylance (Hamlet, The Seagull, Boeing-Boeing, Jerusalem, Richard III, Twelfth Night, Wolf Hall, Bridge of Spies) discusses Midwestern winters and the creation of Nice Fish

Sean O’Casey’s The Plough and the Stars premiered in February 1926 at the Abbey Theatre in Dublin. Opening nearly a full decade after the 1916 Easter Rising, the play brought the rebellion’s divisive legacy directly onstage at the new Republic’s national theater.

​The room is the thing for Burn All Night director Jenny Koons. Grounding her directing work in experience as an educator and organizer, Koons sees rooms—rehearsal rooms, classrooms, and performance venues— as the spaces where we model, and redefine, the social patterns of oppression or liberation.

In Kraków, Poland, the centuries live together like neighbors. Walking the city center’s warren of medieval alleyways and avenues, a traveler finds temporal juxtapositions ranging from the enticing to the astounding.

How does theater register protest, or organize communities towards action? Through three case studies, this essay charts three key strategies for protest theater: aesthetics as critique, radical encounters, and audience mobilization.

The withdrawal of Moscow municipal funds crucial to the collaboration accompanies rising political pressure on artists here in Russia’s capital. Recent reactionary attention signals the newest new wave of challenges to theaters with a long history of crossing state-sanctioned boundaries of truth.

In his 1997 work Of Hospitality, Derrida observes that to visit, as either guest or host, is to progress ‘from one difficulty to another.’

The Russians are not coming. Monday morning, Woolly Mammoth Theatre announced the cancellation of their upcoming festival of work from some of Moscow’s most innovative artists.

You walk up to a tall cardboard wall. Large quotes welcome your gaze. “I don’t know how this happened,” one of them says. You can see pictures of a desert divided by a large metal fence.

Out of the Blue, currently playing at Moscow’s Satirikon Theater, is restricted to ages 21 and up. Written by Vladimir Zaytsev, the drama follows a gay teenager’s struggle to come out to his friends and family, and to survive the series of remedies that they prescribe to “fix” him. For audiences in Russia and abroad, the play offers a rare chance to experience the stories of Russia’s LGBTQ youth.