Williams avoids the metatheatrics associated with plays about performance for an inquiry into painful transitions we all must undergo.
Four minutes of prolonged eye contact can incur a boost of oxytocin, a chemical that decreases stress and instills positive emotions.
The International Philly Fringe: A welcome to 28 countries
THE SINCERITY PROJECT treats sincerity like a destination as intangible as a hyperobject is immeasurable—a destination to approach but never arrive at.
Uproariously funny, liberatingly bare-assed, and gut-wrenchingly real
A “real” American isn’t just a white American: Jeanne Sakata and the Journey of Gordon Hirabayashi. Part 2 of the interview with the playwright of HOLD THESE TRUTHS (Plays & Players
Jeanne Sakata gives another interview on her moving play HOLD THESE TRUTHS, about Gordon Hirabayashi’s battle with the Supreme Cour to stop the injustices of Japanese American internment camps.
The lesser-known story of Gordon Hirabayashi, who ought to be publicly regarded as one of America’s outlying forces of justice, is told fearlessly by Makoto Hirano in Jeanne Sakata’s HOLD THESE TRUTHS.
One of the most shameful aspects in modern US history took place during World War II, when large numbers of Japanese-American citizens of all ages, including babies, were forced to…
THE SINCERITY PROJECT uses honest dialogue and candid storytelling to blend truth and creative license into a deeply resonant piece.
Can theater be sincere? What does it mean to reveal personal secrets onstage? Is truth a form of performance? Find out.
The fault, dear Brutus, Act III: Makoto Hirano interviews Lantern AD Charles McMahon about “Super Racist” Julius Caesar
Makoto Hirano asks Lantern artistic director Charles McMahon some tough questions about the “Super Racist” Julius Caesar. And a clearly contrite McMahon does his best to explain the process that lead to the company’s misguided choices.
You may have seen the Lantern Theater Company’s JULIUS CAESAR, which recast Shakespeare’s political tragedy in Feudal Japan. You may also have seen the open letter that local playwright and performer Makoto Hirano hand-delivered to The Lantern on “How to Stage Your Show Without Being Super Racist,” which he signed “Makoto Hirano, Dance-theatre artist, actual Japanese person, and actual Samurai descendent,” reposted on Phindie with Hirano’s consent.
“Will it be in yellow face,” my friend asked when I told him about Lantern Theater Company’s decision to stage Shakespeare’s Julius Caesar in feudal Japan, when what the meant was “in kimonos with some Japanese screens and music” seemed somehow culturally tone deaf.
On their website, Team Sunshine Performance Corporation calls themselves “an unstoppable force for good.” Among other things, they love play fighting and projects that sound insane. In that vein is their current collaboration with Shakespeare in Clark Park, HENRY IV: YOUR PRINCE AND MINE.
This is not a play. Therefore this is not a review, but a warning. If you’re looking to sit in a darkened theater watching actors execute a full-length script start-to-finish,…
I came to theater through literature: words brought to life onstage. But seeing any small amount of theater, you quickly realize that that much is communicated between the words. This,…