We’re in the midst of real cultural change, where some theaters are seeking to take the place of the church. Not as a new cosmogony, but rather as a place where people go to heal and be healed. What type of art will come of this?
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Director Peter Brook’s Battlefield is filled with all the magic, strangeness, bad thinking, revelatory moments, and daring you might expect from a 92-year old theatrical rebel and avant-garde showman.
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Ultimately, this is not an experience so much as a bludgeoning of the possibility of any experience at all. Vapid art dressed up as an avant-garde extravaganza.
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Sometimes you wonder about the souls of theaters. CounterPulse certainly has a fascinating one, the way they commission and produce work, and the general vibe before and after performances feel at odds with most Bay Area theaters.
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Internationally acclaimed Québécois theater director Robert Lepage’s Needles and Opium and his team of designers and technicians give the clunky, material nature of the theater a fluidity that approaches and at times surpasses film.
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One of the lovely aspects of Wooster Group productions under Liz LeCompte’s commanding direction is the way the actors just kind of stroll on stage. It's as if we've caught them in the middle of an elaborate rehearsal meant for some future performance.
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Lisa Ramirez’s To The Bone is not only a vicious melodrama about the lives of a group of immigrant women working in a New York poultry factory and live in a world where the law does not exist, and, paradoxically, is always in full force.
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If many now feel America is entering a nightmare age, Ubuntu Theater Project’s production of Arthur Miller’s standard-bearer of thwarted American hope, Death of a Salesman, offers strange, distorted messages from the past.
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It's impossible to miss the political implications of this year's annual Black Choreographers Festival, the three-weekend event has featured image after image of black bodies in crisis.
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One of the chief pleasures of The Christians is that we’re not so much enmeshed in a drama, as we are in the drama of a theological debate. The play not only begins with a sermon, but also in tone and structure resembles a church service.
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