HowlRound • July 2024

We Hear You—A Climate Archive on the World Stage

Even at 420 ppm, Stockholm in April can be chilly. But huddled in the morning sleet at Gustav Adolfs Torg, the activists danced together to stay warm. Someone clipped a Bluetooth speaker to a bike. Someone passed out vegan kanelbullar, Swedish cinnamon rolls salvaged from a bakery the day before. And then they marched toward Parliament for the 297th week in a row.

Stanford Live • December 2023

As We Are: An Interview with Julia Bullock and Christian Reif

On their work for AMOC*'s upcoming tour of El Niño: Nativity Reconsidered.

We Hear You—A Climate Archive • September 2023

Stories | We Hear You

The following stories were shared digitally between March 2022 and June 2023. We invited young people around the world to share some facet of what it’s like to be alive at this pivotal time in the earth’s long history.

A.R.T. Guide • September 2023

Dancing on Ancient Ground: In Conversation with Taibi Magar

Before rocketing past Olympus to the edges of the cosmos, the cast of The Half-God of Rainfall introduce themselves.

Roadmap for Recovery and Resilience for Theater • June 2020

Roadmap for Recovery and Resilience for Theater

An ongoing collaboration between the American Repertory Theater and the T.H. Chan School of Public Health at Harvard University, offering strategies and information for theaters seeking to reopen following the COVID-19 pandemic.

A.R.T. Guide • April 2020

Art Not Without Ambition

An interview with Macbeth In Stride creator and performer Whitney White.

SixByEight Press • June 2018

Exhibits of Evanescence: Performing Arts Curation Strategies from Kraków’s Theatre Museums

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.

A.R.T. Guide • March 2021

The Many Histories of Magic

Hocus Pocus was a man. In the seventeenth century, Englishman William Vincent swallowed daggers, pulled ribbons from his mouth, and made objects disappear while chanting incantations.

HowlRound • November 2019

Meanwhile: Becoming Porous | Mientras Tanto: Hacia La Porosidad

Each discordant reality embodied in our collective urged us to consider the punch line, the satire, and the clown as perhaps more appropriate aesthetic signatures for an imbalanced and hypocritical era.

A.R.T. • March 2019

From Man-Jae to Manhattan

Endlings Playwright Celine Song and Director Sammi Cannold share their journeys to this underwater world premiere.

HowlRound • March 2018

In Kraków, Good Ghosts and Bad at the 2017 Divine Comedy Festival

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.

A.R.T. • December 2018

The Edges of Acceptance: Imagining Othello in a Contemporary US Context

A.R.T. Editor and Assistant Dramaturg Robert Duffley spoke with Othello director (and Oregon Shakespeare Festival Artistic Director) Bill Rauch and actor Chris Butler, who plays the title role in the OSF production arriving at the A.R.T. in January.

A.R.T. Guide • January 2018

Lady Bunny Has a Bee in Her Bonnet

An interview with drag legend Lady Bunny, performing her new piece Trans-Jester! at OBERON January 25-26, 2018.

September 2018

Faux Feminism: An Interview with Fauxnique

The first cisgender woman to win a major drag (queen) pageant, Fauxnique is a queen among queens. Here, she speaks about the co-evolution of her drag performance and feminist practice.

A.R.T. Guide • June 2018

There Is No Line: Director Jenny Koons on the Politics of Participation

​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.

Contemporary Theatre Review (Routledge) • December 2016

Ghost and Guest: Staging Hospitality in the 2015-16 Season

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

SixByEight Press • November 2016

Poems Which Will Shatter the Glass: Methodologies for Protest Theatre

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 Theatre Times • October 2016

Despite Bomb Threats, "Out of The Blue" Plays On (Internationally)

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.

A.R.T. Guide • August 2016

Riots and Risings

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.

A.R.T. Guide • December 2015

Ice Fishing: An Interview with Mark Rylance

​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

DC Theatre Scene • April 2014

New Generation of Russian Artists Under Political Pressure

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.

DC Theatre Scene • April 2014

Report from Moscow: Russian tensions Ice Woolly's Festival of New Radical Theatre

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.