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Miriam Felton-Dansky

Miriam Felton-Dansky is assistant professor of theater and performance at Bard College. Her book, Viral Performance: Contagious Theaters from Modernism to the Digital Age, was published by Northwestern University Press in 2018. She was a theater critic for the Village Voice from 2009-2018, and her essays and articles have also appeared in Artforum.comPAJ, TDRTheatre JournalTheaterASAP/J, and Theatre Survey (forthcoming). She is currently writing a book about spectatorship in live art.

Object Collection’s Cabinet of Wonders

The stage setup for Object Collection’s upcoming show, The Geometry—opening at the Chocolate Factory on March 25—reads like a catalogue of the otherworldly and bizarre.

An Experiment You Don't Understand: Adrienne Truscott, Ursula Martinez, and Zoë Coombs Marr Address their Critics in Wild Bore

In the raunchy political comedies of ancient Greece, it was perfectly acceptable to talk back to your critics onstage.

Cut-Rate Catharsis: The Brick Theater $ells Out

The Brick wants hookers. And not just any hookers—pricey hookers.

From Kansas to the Ohio: The Ice Factory 2006

“Robert F. Kennedy is an angel of God,” explains director Rachel Chavkin to sound designer Matt Hubbs. “He’s acting as an angel of God.” “But he’s not the Second Coming?” queries Hubbs. “He’s not the Second Coming,” confirms Chavkin.

A Great Man Of Genius: Mike Daisey at Galapagos

“I love technology,” declares actor Mike Daisey, “but I love even more the definition of technology which is not complicating things…”

Blood Sacrifice: Adolescence, Borderlands, and Love in Julia Jarcho's Pathetic

Pathetic refracts the story of the lovesick queen onto multiple characters ranging from adolescence to adulthood, each negotiating spiritual and bodily appetites as well as the social costs of growing older in a female body. The play explores “society’s sick need to experience female desire as embarrassment,” as Ásta Bennie Hostetter, production designer and founding company member, puts it.

So Many Players

Philadelphia, January, 1767. A group of white actors prepared for a production of Voltaire’s Orphan of China by applying yellow face paint and donning (inaccurately) Middle Eastern costumes.

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The Brooklyn Rail

DEC 19-JAN 20

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