Sebastian has created a hilarious faux news Kickstarter video lambasting racism, homophobia, and media vacuity. If the show is going to be this good, it’s worth throwing in a couple bucks.

VOICES is not just provocative; it is full of infectious hope that this time, united, we really will succeed.

EM Lewis accomplishes two simultaneous intentions—to tell a story theatrically and to spur perspective on guns.

Alil Vardar’s THE DIVORCEES CLUB, a comedy from France, has crossed the Atlantic for its USA premiere at Penns Landing Playhouse.

Henrik Eger interviews Bob Weick, who is taking on the role of the brilliant, if much maligned Howard Zinn in VOICES OF A PEOPLE’S HISTORY OF THE UNITED STATES.

Theater, dance, circus, and a return to the stage after 12 years. Nice and Fresh January is supremely accessible performance art.

Henrik Eger interviews John Doyle about Howard Zinn, history, and theater.

It may be daunting for theaters to produce the original theatrical source for a well-regarded movie, but Lantern Theater Company’s DOUBT shows why some plays are worth reclaiming for the stage.

Shanahan writes that her research focuses on new movement language that expands the notions of body beyond those prescribed by Western approaches to dance. N

Jen Silverman’s play tells the story of a young woman who has moved to London to escape the dangers of being a lesbian in South Africa.

PRIVATE LIVES, as written by Coward, is funny because it exposes the savagery that exists beneath the polished façade of the English upper class.

On January 18, The Koresh Artist Showcase presented a variety of works that made it easy to remember why we love to watch dance in the first place.

A thrilling, thought-provoking, wonderfully heart-wrenching play now receiving its world premiere by InterAct Theatre Company.

David Mamet’s amusing A LIFE IN THE THEATRE uses the simple interplay of two actors backstage at a repertory company, to talk about life outside the theater.

What occurs in a theater when sex happens? Ivo Dimchev’s FEST and Florentina Holzinger and Vincent Riebeek’s KEIN APPLAUS FÜR SCHEISSE present two very different looks.

Henrik Eger interviews Jen Silverman about her world premiere play THE DANGEROUS HOUSE OF PRETTY MBANE! and the issues it raises.

Campbell’s production allows us to see the raw humanity in these people—or, in many cases, the lack thereof.

There are so many layers to uncover in this work. It is a smart and clever piece; more performance art with humor and drama than a traditional comedy.

Get yourself a glass of wine and enjoy Porter’s musical repartee and stylish insinuation, the swell costumes, and the sophisticated atmosphere.

Did anyone anywhere actually believe that being photographed would take away the soul, or is that the kind of ethnocentric nonsense we need good foreign journalism to counter?