All stories by Aron Canter on BroadwayStars

Thursday, April 19, 2018

YERMA Turns Audio Operatic – Aron Canter responds by Aron Canter

Her quizzers and yelps, the need of her sound, the holes in her anger revealed through the unsteady rocking of her delivery, created the tapestry that was her performance.

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Sunday, April 15, 2018

Heather Kravas: Object That Inspire & Interview with Aron Cantor by Aron Canter

The objects could be anything generative, and Heather’s choices are varied, sophisticated, heartfelt, and a fascinating insight into what interests this artist.

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Saturday, April 7, 2018

What Makes Us Feel (Anxious) by Aron Canter

The anxiety vortex of What Makes Us Feel Good shoots one into the black hole of anxiousness.

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Wednesday, February 28, 2018

Why Returning to Reims works: The sequence and method of a political play by Aron Canter

We engulf and tangle with a political idea in a different way than how we listen and respond to a play.

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Tuesday, February 27, 2018

Review: A Woman Travels to Mars in ‘Spaceman’ by Aron Canter

The final frontier of outer space gets a wonderful stage production in Loading Dock Theatre’s Spaceman, an engrossing and very fine piece of theater written and directed by Leegrid Stevens…

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Tuesday, February 20, 2018

The Art v. The Artist: POLLOCK explores the repercussions of abuse by Aron Canter

Not long after the new Whitney opened in 2015, the museum exhibited an all-star lineup of abstract expressionists on their seventh floor, where they show their permanent collection. On the m…

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Thursday, February 15, 2018

Interview: Obie Winner Tom Nelis on Talking Band’s ‘Fusiform Gyrus’ and the Main Difference Between Nonprofit and Commercial Theater by Aron Canter

Tom Nelis is a longtime New York theater vet that has worked seemingly everywhere and with everyone, from Indecent and The Visit on Broadway to performances with the Royal Shakespeare Compa…

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Monday, January 29, 2018

Review: Dean Moss’ ‘Petra’ at the 2018 Coil Festival by Aron Canter

Rainer Werner Fassbinder’s The Bitter Tears of Petra von Kant is a tower of a film and one of the Western canon’s foremost works concerning both the manipulated, volatile dynamics of pow…

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Review: ‘SOMEONEPLEASELISTENANDUNDERSTAND (they’re wiretapping our brains)’ at the Exponential Festival 2018 by Aron Canter

In SOMEONEPLEASELISTENANDUNDERSTAND (they’re wiretapping our brains), written by Brett Evan Solomon, directed by Kelsey Lurie, and performed at The Brick Theater as part of this year’s E…

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Thursday, January 25, 2018

Interview: Gus Kaikkonen on Directing Stanley Houghton’s ‘Hindle Wakes’ for the Mint by Aron Canter

Director Gus Kaikkonon and the Mint Theater’s production of Hindle Wakes, written by Stanley Houghton, is both authentic to the 1912 original and speaks to issues of our time — a p…

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Monday, January 15, 2018

Interview: Colin Campbell on Starring in Enda Walsh’s ‘Disco Pigs’ by Aron Canter

Colin Campbell is an exciting young actor from Ireland who is making his New York City debut in Disco Pigs, the fast-paced, surreal punk language play that launched the career of Enda Walsh …

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Thursday, December 21, 2017

Review: Hanjo by Aron Canter

The SITI Company’s production of Yukio Mishima’s Hanjo completely concerns itself with the nuances and understanding of time and, critically, with the experience of time in the theater. …

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Review: Dog Sees God: Confessions of a Teenage Blockhead by Aron Canter

The wonder years of teendom are possibly the most potent of our lives, as we feel deeper, think different, see ourselves and others in new lights. Bert V. Royal’s Dog Sees God, the Pe…

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Monday, December 18, 2017

Review: Hold These Truths by Aron Canter

Right in time for the holiday season, right as were all in desperate need for some meaningful American male role models, Hold These Truths, written by Jeanne Sakata, a solo show up at the Sh…

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Interview: Sarah Gancher on Collaborating with The Bengsons on ‘Hundred Days’ by Aron Canter

Sarah Gancher is an exciting theater writer who has worked around the country and around the world. She is a frequent collaborator with many of the most interesting theater makers of all dot…

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Monday, December 11, 2017

Review: Cruel Intentions The Musical by Aron Canter

If you love ‘90s pop — and if you don’t, really, just get out — then you will probably have a super fun time at Cruel Intentions The Musical, a remake of the ’90s film adaptat…

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Tuesday, November 14, 2017

Review: Jack Goes Boating by Aron Canter

Two couples battling through life in New York City take center stage in Jack Goes Boating, written by Bob Glaudini and presented by The Seeing Place Theater and director Erin Cronican. The c…

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Review: The Life and Times of Lee Harvey Oswald by Aron Canter

The Life and Times of Lee Harvey Oswald at La MaMa ETC presented by the Czechoslovak-American Marionette Theatre and GOH Productions is a totally charming and interesting evening of theater.…

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Tuesday, November 7, 2017

Review: Wood Calls Out To Wood by Aron Canter

A rose of a show is up at The Tank, Wood Calls Out To Wood, written by Corinne Donly and directed by Sarah Hughes. A work of such generous inquiry and soft choices is a blessing to patient s…

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Saturday, October 28, 2017

Review: Mauritius by Aron Canter

There are many reasons to see a play, and if one of those reasons is that you adore the creative repercussions of the well-written play structure, Mauritius, by Theresa Rebeck, with a lovely…

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Friday, October 27, 2017

Review: Mesquite, NV by Aron Canter

The dark consequences of politics and a failing economy take center stage in the Workshop Theater’s production of Mesquite, NV, by Leegrid Stevens, directed by Thomas Coté. Bouncy text an…

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Thursday, October 19, 2017

Review: Red Light Winter by Aron Canter

The chasm between our varied lives and theater’s capacity to reflect it is nothing to get down on; in fact, it’s a beautiful opportunity, and in many ways, is what this art form …

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Monday, October 16, 2017

Review: Tomorrow in the Battle by Aron Canter

Sometimes, a play really surprises me. Tomorrow in the Battle, a high stakes drama on love and morality by Kieron Barry, directed by Tana Sirois, is an effective and fun piece of theater sto…

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Review: Dickie Beau’s ‘Blackouts’ by Aron Canter

Dickie Beau’s work is as personally spiritual as it is rigorous and inventive, as intimate as it is interesting, and his limited run at Abrons — part of the Crossing the Line Festival …

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Review: Whiskey Pants by Aron Canter

Whiskey Pants: The Mayor Williamsburg, a new musical directed and composed by Christian De Gre, is a remarkably silly new work, now up at the HERE Arts Center. And while some of the sillines…

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Saturday, September 30, 2017

Review: Brilliant Traces by Aron Canter

Brilliant Traces, written by Cindy Lou Johnson and directed by David Newer, is a love story set in a remote cabin in Alaska during a whiteout between a woman who is running away because she …

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Thursday, September 28, 2017

Review: Pomengenade by Aron Canter

The Arctic Group’s Pomegrenade, written and directed by Ran Xia and performed at IRT, a cozy little space a stone’s throw from the Hudson River, is a Chuck Mee-style reimagining …

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Review: Monica Bill Barnes and Company’s “One Night Only (running as long as we can)” by Aron Canter

Monica Bill Barnes and Anna Bass are the most fun choreographers ever. They may also be the most fun people ever, but I haven’t met everyone so who can say. What you may miss at their …

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Tuesday, September 26, 2017

Review: Petie by Aron Canter

In Petie, a new play written by and starring Lori Fischer and directed by Martha Banta, the dark mistakes that haunt us never leave the downstage corner of our minds. This well-performed, th…

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Tuesday, September 19, 2017

Interview: Moshe Yassur on Directing New Yiddish Rep’s Production of Ionesco’s ‘Rhinoceros’ by Aron Canter

Moshe Yassur is a longtime collaborator with the New Yiddish Rep, having directed their acclaimed productions of Waiting for Godot and Death of a Salesman, and he is at the helm of their l…

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Review: Sam’s Tea Shack by Aron Canter

Welcome to Sam’s Tea Shack, a bazaar to house Sam Soghor’s comedy routine/heart break — and a theatrical experience straight out of 1980s New York City. The work is a rumbling ther…

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