WEB EXCLUSIVE Uniting three works of opera that span over 100 years, Michael Counts curates, directs, and designs his vision Monodramas for the New York City Opera. He speaks with musician John Zorn about the scale and challenges of the stage.
WEB EXCLUSIVE Michelle Boulé refers to dance as channeling, where movement is a conduit. Here she discusses her choreographic influences, like Miguel Gutierrez and Deborah Hay, and the increasing intersections between dance and visual art.
WEB EXCLUSIVE Oskar Eustis, the Public’s Artistic Director, and his collaborator, Hewes Award-winning set designer David Korins. Having recently collaborated on Passing Strange among other productions, the two discuss how process makes perfect.
WEB EXCLUSIVE David Levine spoke to director Michael Thalheimer as he prepared to bring his version of Frank Wedekind’s Lulu to New York. This interview is a part of the Select Equity Series on Theater.
Read the original Spanish language text of this conversation.
Federico León’s recent Las multitudes was staged last year in Argentina. For Richard Maxwell, the playwright-director’s production is a “brokenhearted humanity tale.” A heroic one, at that, with 120 actors.
If ensemble theater group Rude Mech’s ethos was a draw for Radiohole’s Dyer, their bacchanalian re-creation of the Performance Group’s Dionysus in 69 clinched the connection.
Cantor, who directed Herzog’s The Great God Pan, talks to the playwright about creating characters who are “passionate, interesting, and unfailingly honest.” Herzog was just named The New York Times Outstanding Playwright.
Gutierrez’s And lose the name of action is at the Brooklyn Academy of Music through December 8. Houston-Jones, who performs in the piece, speaks with the choreographer about collaboration and the importance of casting.
Irish playwright Murphy’s A Whistle in the Dark, Conversations on a Homecoming, and Famine are playing at Lincoln Center now. Read his conversation with Colm Tóibín from BOMB’s Summer Issue online for a limited time.
Dancer and choreographer Lemon views artistic practice almost like a Zen koan; the less performance behaves like performance, the better.
Choreographer Dean Moss speaks with one of his collaborators, playwright Young Jean Lee, about his early years as the son of civil rights workers and his current work-in-progress, a meditation on John Brown.
Members of the downtown theater company share their commonalities with Occupy Wall Street and ideas on alternate uses for plastic bags. Radiohole’s new show INFLATABLE FRANKENSTEIN is at the Kitchen through January 19.
Scott Shepherd, narrator of the Elevator Repair Service’s GATZ and actor in The Wooster Group’s version of Vieux Carré talks shop with playwright/director Richard Maxwell.
The two playwrights and performers on the drawbacks of being in constant production mode versus the pleasures of, and requirements for, the incubation of plays: a dose of folly and wonderment.
Sarah Michelson, who has been awarded the 2012 Bucksbaum Award by the Whitney, contemplates, with fellow choreographer Ralph Lemon the gaze and juxtaposition of seasoned dancers with young girls.
Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.
In her most recent theater piece, The Truth: A Tragedy, Hopkins tackled her father’s deterioration. Annie-B Parson rolled the dice to find out how Hopkins converts her demons into one-woman productions blending music, dance, fact, and fiction.
The iconic dancer and choreographer is collaborating with musician Lukas Ligeti on Itutu, blending African pop with Western symbolism. They dissect African polyrhythms and Armitage’s movement language of sinuous curves.
Jefferson describes Bradshaw’s plays as treacherous territories peopled with high-achieving suburbanites and professors gripped by sexual and racial manias. Their most dangerous quality: they act on pure id.
Young Jean Lee interviews Kelly Copper and Pavol Liška, founders and directors of the Nature Theater of Oklahoma. Their production of Romeo & Juliet runs through 1/17 at The Kitchen.
With cheap suits and utopian agendas, the Yes Men invade business conferences and the television newsroom posing as politicians and corporate spokesmen. It’s aigtprop for a new age, played out in real life
The Select Equity Group Series on Theater. Playwright Richard Maxwell directs artist and writer John Kelsey in an impromptu rehearsal of an angst-riddled monologue. A discussion on the intricacies of delivering a text ensues.
The Select Equity Group Series on Theater. Eno, who’s been hailed as “the Beckett of the John Stewart generation,” with his collaborator Sola at the former Howard Johnson’s restaurant and points beyond.
The Select Equity Group Series on Theater. The Academy Award winner on how acting has helped him perfect his other love— directing for the theater. Just opening: Little Flower of East Orange at LAByrinth Theater Company.
Winter Miller accompanied Pulitzer Prize–winning journalist Nicholas Kristof to Chad, interviewing refugees from the Darfur genocide. The result: her stark, highly emotional play In Darfur.
Annie-B Parson and Paul Lazar have compressed dance and theater into their own spectacular hybrid. The Other Here is running at the Dance Theater Workshop through September 29.
National treasure Kate Valk, on her acting life with the famed Wooster Group, their interpretation of Hamlet, and channeling the ghosts of legends. Part of the Select Equity Group Series on Theater.
Master actor John Turturro spoke with compatriot June Stein about the art of directing during previews of Yasmina Reza’s A Spanish Play.