Is Acting Hazardous? On the Risks of “Immersing” Oneself in a Role
A consideration of the acting myths about getting lost in character. Samuel Kampa writes.
The Devil Returns to Seattle: Master and Margarita
Omar Willey contemplates the changes of 22 years, via Theater Simple’s remount of Master and Margarita.
Why I Got Up on Stage at the Edinburgh Fringe to Explain My Research in Cabaret Form
How an academic overcame stagefright to present dangerous ideas at the Edinburgh Fringe Festival. Anna Sedda writes.
‘What the Hell is a “Aguey”?’: An Exit Interview with Jose “Two Tongue” Amador
Who will conduct brilliant interviews in the absence of CityArts? We will, of course. We interview that beige guy about some theater-y whatever.
Can White People Ever Be Relevant Again?
In the spirit of City Arts, we bring you more hard-hitting aesthetic judgment, this from I.M. Fletcher.
The Revolt of the Misses: The Maids/Vexations at APL
Omar Willey returns to theater criticism with this piece on Akropolis Performance Lab’s production of Genet’s play.
Morality Collapse: Pratidhwani’s Queen
Thoughts on the latest Pratidhwani production from Omar Willey.
The Past Sure is Tense: Don’t Call it a Riot!
Concerning Amontaine Aurore’s latest show at 18th & Union.
Theater and Imagology: Crewmates
Of radio, film and theater, and when to decide. Omar Willey’s latest thoughts on theater via review of Sameer Arshad’s Crewmates.
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