Prison plays an ambivalent role in the imagination of many white Americans.
Chrysler Ford and Samuel Cooper
Chrysler Ford has been working with AndrewAndrew since 2012 and helped to provide content for PBS, WBAI, Paper Magazine, The New Yorker, and New York magazine. He also works on the blog AndrewAndrew Dinner Theatre, covering New York’s culinary and theatrical scene. He is a frequent contributor of reviews and illustrations to Hyperallergic. Follow him at ChryslerFord.com. Samuel Cooper is a writer and freelance mathematician. He tweets.
Posted inPerformance
Ignoring Broadway Hype in Favor of Intimate Theater
Annie Baker’s style could not be more different from that of Hamilton: her plays are long, light on plot, spoken not sung, full of lengthy pauses.
Posted inPerformance
A Restaging of ‘Oklahoma!’ Thrusts the Audience into the Action
ANNANDALE-ON-HUDSON, New York — The original Oklahoma! musical from 1943 is set in the 1900s, during a much “simpler” time.
Posted inPerformance
Confronting Our Apathy Anew with Samuel Beckett
On paper, Happy Days looks pretty unappealing.
Posted inPerformance
David Byrne’s Avant-Color Guard
If you’ve ever been to a high school or college football game, chances are you’ve seen a color guard.
Posted inPerformance
The Slippery Politics of Weaponized Theater
Trash Cuisine is a play about the visceral horrors of political violence.
Posted inPerformance
A Tale of Revenge that Runs from Ancient Greece to ISIS
Playwright Charles Mee is a master at mining ancient myths for the truths that transcend memory-torturing details and reimagining those truths for contemporary theatergoers.
Posted inPerformance
Stravinsky’s Satiric Opera with Muddy Morals
Clouds, shadows, and other mirrors of the soul have long led protagonists into temptation in order to deliver audiences from evil.
