The revival of The Saintliness of Margery Kempe, based on The Book of Margery Kemp, tells the story of a fiercely independent medieval woman and her contradictory path to sainthood.
When making conversation with actors during the show, we were confronted with an awareness of how performative such chit-chat is in real life.
The Met’s new production of Così fan tutte stages the comic opera at a Coney Island-style amusement park circa the 1950s.
In Written on Skin, currently playing at Opera Philadelphia, an illuminated manuscript artist gets involved with his patron’s wife.
Chess Match No. 5, a play composed from excerpts of John Cage interviews, reprises canonical questions about the nature of music and art but adds no new insights.
In 887, theater artist Robert Lepage recounts his childhood in Quebec City during the escalation of the separatist movement.
Before Geoff Sobelle’s performance The Object Lesson begins, the audience is invited to riffle through the hundreds of boxes piled high around the theater.
Yara Travieso’s staging of La Medea at the Coil festival was several shows at once — the performers themselves, live video, and other audience members, who were at times invited to join in the dance.
L’Amour de Loin, by the Finnish composer Kaija Saariaho, receives a dazzling production that sets the self-aware tale of unrequited love on a flickering sea of LED lights.
Musically and visually, the Metropolitan Opera’s first staging of Gioachino Rossini’s Guillaume Tell in over 80 years is a tremendous success.
This is not your grandmother’s drag show. A 24-Decade History of Popular Music by renowned playwright and drag performer Taylor Mac is a monumental production covering American popular music from 1776 to 2016.
There is hardly any dialogue in Small Mouth Sounds, a play about six weekend retreaters who have taken vows of silence.