Colin did postgraduate work on Shakespeare and drama at the University of London and the CUNY Graduate Center, and is currently the managing editor of Renaissance Quarterly. When he was seventeen he saw the Old Vic production of The Iceman Cometh and has been avidly theatergoing ever since. His writing has appeared in The Times Literary Supplement, Salon, and The Shakespeare Newsletter.
Haruna Lee’s Suicide Forest, an experimental play that wrestles with questions of Japanese-American cultural and sexual identity and psychology in a w...
Scott Organ’s 17 Minutes, presented by the Barrow Group and directed by its co-artistic director Seth Barrish, is a play about inaction: both an indiv...
The Mad Ones, a theater ensemble who compose collaboratively through a process that involves prolonged improvisation, character-building workshops, an...
Wheelhouse Theater Company’s production of Aaron Posner’s “Life Sucks,” under the direction of Jeff Wise, is described as “sort of” an adaptation of C...
There’s a particular challenge in trying to portray genius, which consists so much of the ineffable—in the case of Frank Beacham and George Demas’s Ma...
Monica Bauer’s Vivian’s Music, 1969 - currently at 59e59’s Theater C, under the direction of Glory Kadigan - is a “fantasia” inspired by real events: ...
Moscow’s Pushkin Theatre and London’s Cheek by Jowl join forces in staging one of Shakespeare’s knottiest works for BAM’s Next Wave Festival, the “pro...
The reaction to hearing about Bedlam’s new production—simultaneously performing Chekov’s Uncle Vanya and Shakespeare’s Romeo and Juliet with a cast of...
A Lovely Sunday for Creve Coeur, a late-career Tennessee Williams play, had its New York premiere in 1979, at the Hudson Guild Theater. Almost forty y...
If there’s a thread that runs through the Summer Shorts (Series B) at 59E59, presented by Throughline Artists, it’s the stories we tell ourselves—abou...
