Obviously, then, as a dramatization of my life, Strange/Familiar isn’t a straightforward autobiography. Instead, the play blurs personal history with artful invention, even as the medium of theatre blurs the objective reality of live performance with the subjective impact of...
Nabra: That’s so fascinating and really also confirms what we’ve been saying in this season a lot, which is that MENA and SWANA cultures have had theatre for really since the dawn of time, since the dawn of civilization. There...
The We Hear You creative team put a lot of thought into the structure of our gatherings. In addition to the stories themselves, we wanted to weave generative connections. We thought of fungal networks running deep below the forest floor:...
Othello breaks my heart. Every. Single. Time.Unlike many—scholars, directors, actors—who have given up on the Moor of Venice, I find myself returning to him more often that I’d like. I approach Shakespeare’s text with a cognitive dissonance that I do...
Ring of Keys is thrilled to host writers Kit Yan and Melissa Li for a look into their collaborative writing process for musical theatre. The session will give participants a chance to watch Kit and Melissa collaborate on new material,...
Marina Johnson: Salam Alaikum. Welcome to Kunafa and Shay, a podcast produced for HowlRound Theatre Commons, a free and open platform for theatremakers worldwide. Kunafa and Shay discusses and analyzes contemporary and historical Middle Eastern and North African, or MENA,...
There is a well-trotted story that Herman Melville, as he was writing Moby Dick from his study in the Berkshires, saw in the snow-covered humps of Mount Greylock the eponymous white whale. This story of imaginative transformation may be apocryphal,...
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