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 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.
Brecht’s estrangement, Artaud’s ritual theatre, Boal’s Theatre of the Oppressed, and camp inform My Barbarian’s performance work: an investigation of what constitutes transformative cultural practice.
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.
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.
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.
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.
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.
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.
Sarah Ruhl won a MacArthur for The Clean House, which had just closed at Lincoln Center in New York when this issue went to press. Pulitzer Prize-winning playwright Paula Vogel sets the stage.
Doña Julia Julieta, of the International Council of Thirteen Indigenous Grandmothers, on Mazatec ancestral knowledge, sacred mushrooms, and one patient’s extraordinary regression through time.
On the craft of directing and playwriting for a woman’s body, the body politic, and a people’s soul.
Rebeck is busy this fall: “Poor Behavior,” is now in previews at the Mark Taper Forum in Los Angeles. Her play “Seminar,” starring Alan Rickman and Lily Rabe, opens on Broadway in November.
Celebrated for his dissection of WASP America, playwright A. R. Gurney talks with colleague Romulus Linney about Gurney’s most popular plays: The Dining Room, Sylvia, The Cocktail Hour. His latest, Indian Blood opens.
Adam Rapp’s new work Hallway trilogy runs now through the 27th at the Rattlestick Playwrights Theater. In this BOMB 95 interview Marsha Norman probes the underbelly of American life where Rapp’s moody plays take place.