The racial uprisings of this past summer rippled throughout the theater world, where Off-Off-Broadways the Flea Theater was slammed for its history of racial and economic injustices that long left its artists unsupported and, now, unmoored: in a recent letter, the Flea has decided to dissolve its artistic programs, leaving those who fought for change without titles, but not without community.
Mid-COVID, many theaters pivoted to digital programming. To create something more singular (and tangible), Ars Nova commissioned a durational theater piece with handwritten letters as its vessel. Now, audiences can both listen to the old-friends-turned-pen-pals exchanges online and also experience the culmination of their relationship at an in-person play this fall.
Joey Sims participates in Social Alchemix, a new interactive party game experience where players burst their pandemic bubbles and gather for live, in-person interactions that prove, as interactions with strangers might, both mundane and revelatory.
But nor is Waters, a king of experimental theater who recently graced Broadway with his extraordinary production of Lucas Hnaths Dana H., about to let a book about his work become, itself, obvious or rote. So, interspersed between illuminating essays by Waterss collaborators come his own idiosyncratic contributions.
Online performance series Theater in Quarantine created a two-hander about bed bugs, which broke new ground for the company but nearly broke them in the process.
As the World Slowly Reopens, Theaters Remain Closed, Leaving Furloughed Employees Uncertain About Their FuturesBy Joey Sims
Weeks of order cancellations. Mounting dread. The March 12 shutdown of all Broadway theaters. Then the following Monday, Mollie Thoennes was told to collect her things and stay home. There was no return date.