Monday, September 23, 2024
By Amelia Parenteau. Through their work, translators of theatre allow others to travel with them between languages, cultures, and realities.
SOURCE: HowlRound at 09:37AMMonday, June 24, 2024
Laughs in Spanish by Miami native Alexis Scheer is a love letter to her city, specifically the Wynwood neighborhood, home to Miami’s vibrant art scene. The relationship between the play’…
SOURCE: thetheatretimes.com at 04:15PMWednesday, May 1, 2024
By Amelia Parenteau. Amelia Parenteau explores the creation of The < 3 G E N Project: a documentary theatre project in which the creators, Beatriz Cabur and Giulia Cavallini, are using di…
SOURCE: HowlRound at 08:49AMTuesday, December 19, 2023
By Amelia Parenteau. Amelia Parenteau details the devising process of Intramural Theater, sharing how the company creates a safe and supportive container for artists to tap into their wildes…
SOURCE: HowlRound at 01:18PMMonday, July 24, 2023
By Amelia Parenteau. Amelia Parenteau chronicles the process of translating Eva Doumbia’s Autophagies from French to English and producing its tour in the United States, a project that unf…
SOURCE: HowlRound at 09:12AMThursday, April 27, 2023
By Amelia Parenteau. Amelia Parenteau introduces the We Will Dream: New Works Festival, a festival showcasing new plays by Black playwrights originating from or working in the American South.
SOURCE: HowlRound at 10:44AMTuesday, March 8, 2022
By Amelia Parenteau. Although healthcare clowns have existed for more than forty years, their work isn’t widely understood.
SOURCE: HowlRound at 09:28AMTuesday, January 5, 2021
By Amelia Parenteau. Amelia Parenteau explores the most recent Seuls en Scène Festival, which took place in September 2020 on Zoom and had a programmatic mix of video recordings of live per…
SOURCE: HowlRound at 02:00AMTuesday, November 24, 2020
By Amelia Parenteau. Amelia Parenteau examines the essential nature of both artists and medical workers—who heal body and soul, mind and spirit—and shares how some have navigated their c…
SOURCE: HowlRound at 02:00AMTuesday, November 10, 2020
Conversation with the two authors Charlotte Boimare and Magali Solignat, co-writers of the play, The Day My Father Killed Me. The conversation (condensed and edited) has been conducted…
SOURCE: thetheatretimes.com at 02:10AMMonday, January 13, 2020
By Amelia Parenteau. Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world to …
SOURCE: HowlRound at 10:24AMThursday, May 23, 2019
By Amelia Parenteau. Amelia Parenteau, along with theatremakers Eva Doumbia and Marie Houdin, explores the similarities and differences of parades and protests.
SOURCE: HowlRound at 09:00AMMonday, November 19, 2018
By Amelia Parenteau. Amelia Parenteau explores the importance of the Seuls en Scène French Theater Festival in Princeton, New Jersey, and discuses the themes and productions at this year’…
SOURCE: HowlRound at 11:06AMThursday, February 1, 2018
Every story needs to be considered individually for us to have any chance at finding something that looks like justice.
SOURCE: Culture Bot at 09:35AMTuesday, June 27, 2017
Is a one-act the most intentionally ephemeral storytelling? Or a prelude to a more extended version of itself?
SOURCE: Culture Bot at 11:24AMTuesday, May 30, 2017
This was a weird play, and I feel okay saying that because even the press release pronounces, “PLUTO is dynamic, simple, and strange.” And I liked the weirder bits a lot. On the night I …
SOURCE: Culture Bot at 11:33AMMonday, May 22, 2017
I first met Gus Schulenburg as an intern in his department at Theatre Communications Group. I remember being impressed by his ability to make time for everyone, in spite of the mountain of w…
SOURCE: Culture Bot at 02:06PMMonday, April 3, 2017
One of TRE’s greatest distinctions as a New York company (in my opinion) is that they are always playing onstage
SOURCE: Culture Bot at 08:48PMWednesday, March 29, 2017
Whose sympathies aren’t piqued by a victim of circumstance who made someone laugh every day while he was alive, no matter how complicit he was in this environmental devastation, no matter …
SOURCE: Culture Bot at 11:36AMWednesday, March 15, 2017
The eponymous Nibbler, of The Amoralists’ world premiere presentation, running at Rattlestick through March 18, strikes when you’re about to have your first true sexual encounter.…
SOURCE: Culture Bot at 12:48PMSaturday, February 25, 2017
If you have never been to the Japan Society, tucked away on East 47th Street between 2nd and 1st, make it a point to go there this year. Better yet, go there this week. I promise you will be…
SOURCE: Culture Bot at 01:24PMFriday, February 24, 2017
In my senior year of high school, the new drama teacher somehow convinced half the boys on the football team to audition for a production of Martin McDonagh’s The Cripple of Inishmaan. The…
SOURCE: Culture Bot at 01:24PMThursday, February 16, 2017
Wonder/Through the Looking Glass Houses is a dance show with artful, varied choreography and fluid company member collaboration from an ensemble that clearly knows itself well enough to play…
SOURCE: Culture Bot at 01:03PMTuesday, January 3, 2017
O’Neill succeeds in using a traditional four act structure to present what one can only imagine were revolutionary feminist ideas when this play was first produced.
SOURCE: Culture Bot at 11:24AMThursday, November 10, 2016
They’re afraid of anything different from them or of what they see in me that maybe they see in themselves
SOURCE: Culture Bot at 11:36AMFriday, November 4, 2016
"The hair in all of Salzburg becomes so tall they have to raise the roofs of carriages - no lady can sit upright in them. I am the talk of the town."
SOURCE: Culture Bot at 02:06PMThursday, September 22, 2016
Phaedra(s) was an enormous production in terms of star power, length, and ambition that failed to deliver the novel telling it promised.
SOURCE: Culture Bot at 11:57AMWednesday, September 21, 2016
Aubergine is a tender story of food and family, and the ways we express our love.
SOURCE: Culture Bot at 12:08PMTuesday, September 20, 2016
The first time I tried to attend Blossom, at its Henson Carriage House residency in April 2015, the world of texts and trains conspired against me so I ended up stuck in the lobby area with …
SOURCE: Culture Bot at 11:55AMMonday, August 29, 2016
How do you transform an academic, nineteenth century text into a compelling piece of twenty-first century feminist theater?
SOURCE: Culture Bot at 11:58AMTuesday, May 24, 2016
There’s a density of experience in being alone that is almost irreconcilable. Almost impenetrable. Some people call it a void but I find it totally not void-y. It’s. Unavoidable.
SOURCE: Culture Bot at 12:27AM 
