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A perennial New York issue that we can expect to be aware of during the Republican Convention is space, or the lack thereof.
As William Carlos Williams said, the pure products of America go crazy, and in the case of Radiohole theyve gone crazy in a really, really interesting way.
Playwright Jason Grote had an e-mail conversation with performer Erika Latta and director Ivan Talijancic, the artistic co-directors of the international theater company WaxFactory, and playwright Simona Semenic, production dramaturg and executive producer of SHE SAID. Created in cooperation with Mini teater Ljubljana (a Slovenian NGO producing contemporary theater and puppet theater) SHE SAID will be performed at the Brooklyn Lyceum from November 3-13, as part of the Act French Festival; for more information, visit www.actfrench.org and/or www.brooklynlyceum.org.
In the work of Elana Greenfield, there is a mistrust of borders and boundaries that seems to extend to the medium of writing itself. While she is putatively a playwright, her work defies classification, occupying an indeterminate space between poetry, fiction, playwriting, and sub-genres like radio plays, oral storytelling and prose poetry.
Playwrights Sheila Callaghan and Jason Grote recently saw the Undermain Theaters production of Jeffrey M. Joness play A Mans Best Friend, and they discussed the play in Sheilas Brooklyn kitchen.
The world of Ken Urbans plays is extraordinarily complex. It evokes the globalized world, where exotic, fearsome jungles of terrorism and ethnic cleansing coexist with banal landscapes of turnpikes, strip malls and subdivisions.
Harold Pinter was an inspirationif not a modelfor many theater artists working today. What follows is just a small sample of the ways Pinter's work has influenced us all.
I often find myself saying that American theater in general, and playwriting in particular, are enjoying something of a creative renaissance at the moment.
BOOTS: Now that is something. Some thing. NANETTE: BOOTS: I tell you. I just saw something .
It’s a truism that the discussion of class is a taboo in American society. In fact, however, it’s discussed quite often, whether in the language of the rightist, “blue-collar” backlash, or the various liberal pieties of NPR and The New York Times.
At first glance, Larry Bogads informative and engaging Electoral Guerilla Theatre seems an odd book to exist, chronicling three underreported satirical election campaigns.
In the course of the past decade or so, theater has reached a sort of watershed moment. There may be more multivalent, creative theater being created today than in any other time in U.S. history. Whereas theatrical movements of the recent past have privileged spectacle over text or collage over narrative, or have involved a reassertion of traditional forms, much contemporary work exists comfortably in multiple theatrical traditions, or in no tradition at all.
I have a theoryhalf-baked and probably impossible to confirmthat new British plays seen by New York audiences dont even come close to representing the most interesting work happening in the UK at any given time.