Emilio Madrid Never Stops Moving
The photographer behind some of theater’s most recognizable images discusses building a business, earning actors’ trust, and shooting eleven subjects in a single day.
Voir Dire: On the Civic Position of Queer Artists
What do we owe a democracy that often isn’t sure about us? Moving between a jury summons and a reading of The Normal Heart, playwright Else Went reflects on certainty, compromise, and belonging.
How Clubbed Thumb “Moves Fast and Builds Things” for Summer’s Strangest Party
After three decades of producing must-see downtown plays, artistic director Maria Striar continues leaning into new work that defies categorization.
John J. Caswell, Jr. and Dustin Wills Dig Into “Jerome”
Ahead of their Playwrights Horizons run, the playwright and director discuss older queer desire, Arizona ghost towns, and building a play through previews.
How Do You Adapt a Thousand-Page Encyclopedia of Sadness?
Leo Egger and Charlie Mayhew of the Eno River Players discuss turning Robert Burton’s The Anatomy of Melancholy into a wry Off-Off-Broadway meditation on grief, history, and surprisingly modern anxieties.
Thornton Wilder’s Unfinished Play About Choosing a Life in the Arts
Playwright Kirk Lynn spent years inside Wilder’s journals, drafts, and notes to bring The Emporium to the stage. But he left one crucial decision up to the audience.
Why Is Everyone Coughing at “What We Did Before Our Moth Days”?
At Wallace Shawn’s new play, audiences seem seized by an uncanny urge to make themselves heard. What would Freud say?
“Canciones” and the Songs We Take with Us
In an immersive mariachi performance in a Flatbush apartment, a Mexican family wrestles with a fear shared by immigrants everywhere: that leaving home may mean leaving yourself behind.
“Beauty Freak” Gets Political in a Time of Numbness
In its unsparing portrayal of director and Nazi propagandist Leni Riefenstahl, the new production by What Will the Neighbors Say? shines a spotlight on our own growing dissociation from everyday horrors, and asks: What is the role of the artist in politics today?
“The Bad Daters” Searches for Connection at Paradise Factory
Director Colm Summers and playwright Derek Murphy on Irish humor, self-harm, and staging an unconventional love story.
At Rise: Bubba Weiler and Jack Serio, Before First Rehearsal
Over a diner breakfast, the writer and director of Well, I'll Let You Go talk catharsis, their love of Our Town, and plays that make you want to call your parents.
BAM and the National Theatre Are Betting on Each Other — and on “Hamlet”
A new partnership links Brooklyn and London, as both institutions look to stabilize, find new audiences, and expand the transatlantic pipeline.
What Theater Can Learn from Game Design
From immersive performances to chocolate-pudding city planning, game design is reshaping how audiences participate in theater. How far can it go?
What Bedlam Sees in “Othello” Right Now
A four-actor production led by Eric Tucker and Ryan Quinn leans into race, love — and reconsiders what Shakespeare’s tragedy asks of an audience in 2026.
Milo Cramer on Getting Swept Away with “No Singing in the Navy”
The playwright talks sailor archetypes, existential despair, and why musical theater can be both ridiculous and profound.
How “Mexodus” Is Building a Musical for the Future
Brian Quijada, Nygel D. Robinson, and director David Mendizábal are treating theater as something to pass on — across cities, platforms, and audiences.
Jade Jones Plays by Their Own Rules in “Bigfoot!”
After a viral Belle and regional acclaim, the performer brings comedy, swagger, and gender-expansive freedom to New York City Center.
How Playwrights Spend Their Time
Four writers tracked a week of writing, teaching, procrastinating, and trying to make art fit inside ordinary days.
John Early Lets the Mystery In
The comedian and actor enters Wallace Shawn’s unconscious mind in What We Did Before Our Moth Days, directed by André Gregory.
Anne Kauffman Meets Her Past Self in “You Got Older”
The director has made a habit of restaging her Off-Broadway work (see: Mary Jane, Marjorie Prime). Now, with Clare Barron’s play at Cherry Lane Theatre, she’s revisiting past choices on a very different stage.