Len Jenkin's The Dream Express: The Outlaw Lounge Act Returns
by Gary WinterTheater
You know, whoever you are, the very fact that you’re sitting here tonight implies that you may very well have ruined your whole fucking life already.
The Personal Historical: Roger Guenveur Smith
by Kathryn WalatTheater
Roger Guenveur Smith is a man who knows his history. But the writer-performer doesn’t just know it, he lets it under his skin, manipulates it, re-imagines it, and embodies it in shows that are as much about the here-and-now as they are about where we came from.
Downtown Epic: TAYLOR MAC'S The Lily's Revenge
by Linda LesemanTheater
In the modest black box space of The Bushwick Starr—occupied this Sunday morning by some twenty-odd performers and a three-piece band—a slide whistle signals the beginning of rehearsal.
LEMON ANDERSEN: From Public Enemy to Public Theater
by Kyle Thomas SmithTheater
If Eminem thinks he’s got anything to bitch about, he should check out Lemon Andersen’s County of Kings. Compared to Lemon’s childhood in the projects at 24th St/4th Ave in Sunset Park, Marshall Mathers lived an almost storybook life on 8 Mile.
Scalping History: JULIA JARCHO with Richard Maxwell
by Richard MaxwellTheater
Julia Jarcho’s play American Treasure, produced by 13P, will premiere at the Paradise Factory on November 21 and runs through Dec 12.
STEPHEN ADLY GUIRGIS with Michael Benjamin
by Michael BenjaminTheater
Although he enjoys acting far more than writing, Stephen Adly Guirgis is best known for his work as a playwright with the LAByrinth Theatre Company in New York, of which he has been a company member since 1994. The Rail caught up with Guirgis and playwright/actor Melanie Angelina Maras during a rehearsal for Maras’ new play, Kiss Me on the Mouth, which Guirgis directs.
TWO FOR THE TIME: Reviving Susan Glaspell in New York
by Alexis ClementsTheater
Last fall, the writers Julia Jordan, Sarah Schulman and Anna Ziegler called a town hall meeting for female playwrights to discuss the fact that work written by women was being produced at rates no better than 100 years earlier.
