The Crick Crack Club's lineup of multi-talented performers dabble and delve deep into a wide range of oral, linguistic and musical, narrative traditio...
“Don’t you know what ‘no’ means?”
“It means that you’re a woman.”
Joe DiPietro’s Fucking Men is based on Arthur Schnitzler’s 1900 Le Ronde, and exam...
The first thought a reviewer has as the lights dim is that it is curious musicians have not more ubiquitously exploited the sonic sublimity of drums b...
Billed as "one woman's epic journey to found a new nation," Sarai is beautifully choreographed by Shane Shambhu; Karlina Grace-Paseda's alternations b...
The pace is so relentless one might suspect the production of attempting obfuscation of, or misdirection away from, some fundamental lack — but this i...
Xanthe Gresham believes (as, presumably, does Nick Hennessey though he expresses no opinion on the subject except through infusing harp and voice with...
If you are reading a review of Hula House you either have or wish to have an opinion on the debates surrounding the decriminalization of sex work in t...
A Girl and A Gun is titled after a quotation widely attributed to Swiss-French fimmaker Jean-Luc Godard: all you need to make a movie (successful) is ...
A comprehensively autobiographical production, Lowri Evans's Secret Life is at the very least an utterly fascinating experiment. Her narrating self is...
So one can have too much of a good thing. Jessica Ruono’s breezy, funny, disquieting, seventy-five-minute production is no quaintly abridged Lamb Tale...
