The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
Tragedy isn’t when evil triumphs, but when good becomes entangled in its own inevitable contradictions.
Israeli dramatist Savyon Liebrecht’s new play A Case Named Freud is her most ambitious and dramatically satisfying yet.
In this fiction and plays, Thomas Bernhard creates fascinatingly repugnant monsters, black holes of egotism that are symptomatic of our spiritual and moral myopia.
To its considerable credit, Make My Heart Flutter is more existential, literary, and weird than most American comedies.
Crack is too complex and nuanced to be reduced to an anti-psychiatric tract.
In interesting ways, German Stage’s ongoing exploration of Germany’s immigrant populations provides a lens through which we can evaluate how we perceive our immigrants and how we treat them.
Does the distrust of (even a little) narrative ambiguity by North American dramaturgs and audiences mean that international plays must be made more ‘cinematic’ when they are produced here?
Dramatist Savyon Liebrecht was recently in the Boston area for a residency with Israeli Stage — two of her scripts, both dealing with Freud and his legacy, received their world premieres here as workshop productions.
“Everybody has the power to change the world because we’re a part of it. Even if it’s a really small change, it needs to be done. Writing is my pebble in this path.” – Jérôme Richer