How can we respond to the recent increase in racism? One way could be to acknowledge our shared implicit bias, then tell stories to help overcome it.
Tag Archives | theater
I am particularly grateful when a book comes along that illuminates what our culture is really afraid of, those repressed realities that make our arts so docile, so fearful of challenging the status quo. The Great Derangement: Climate Change and the Unthinkable by Indian novelist Amitav Ghosh, sheds light on an embarrassing failure of nerve that […]
Sometimes it takes an immigrant’s perspective to recognize what is truly great about the American experiment.
Understanding the social contract, no matter the language.
A high-heeled Cadillac driver does battle with a sexist film company in the Academy of Music’s original production this month.
The Northampton Academy of Music Theater will debut the new play, Nobody’s Girl, a screwball-style comedy based on a true story from the early 1940s. The events involve Mildred Walker, a cashier at the Academy (then a movie theater), who was promoted to Manager when the Academy’s longtime manager was suddenly called to military service. The men leasing the Academy attempted to oust her, Mildred and the Academy’s Board resisted, accusations flew – and the case ended up in court.
Lindel Hart and Linda McInerney have been collaborating for two years on an adaptation of Mary Shelley’s Frankenstein. In the first year, they researched, imagined, and Lindel wrote. They spent endless hours on Linda’s couch dreaming out how the show might be put together; which characters, scenes, themes, and ideas were right for the stage and important for the story in this time. Over the months a play emerged. They recently offered a development performance of the first version of the play in Greenfield.
Six previously incarcerated women put their lived experiences on stage in a play showing at Fort Point Theater Channel.
The African American experience of 20th century life is captured in The Emancipated Century, a staged reading series of August Wilson’s plays.
>One night in August, I was soaking wet from having just been in a pond, under the moonlight in rural Ashfield. I was walking around the side of a barn and I was listening to the applause from the audience who had come to see our performance of the Arabian Nights. They had just reached the end of a travelling performance spectacle that travels around a former dairy farm, from scene to scene outdoors and inside, culminating at our pond.