On Juliet: “That’s a ride or die girl — they don’t make them like that anymore.” (Urban Dictionary cites, “ride or die chick” as a girl willing to “do anything her man needs her to do.”)
Originally from the Bronx, NY and dedicated to developing new plays and musicals, the majority of Maria-Christina’s work has been in world premieres. She has done countless workshops and readings with the Lark, Sundance, EST, Primary Stages, New Dramatists, Ma-Yi, INTAR, NYTW, the Working Theatre, 52nd Street Project, Clubbed Thumb, Women’s Project, the Public, Red Bull, New Georges, Playwrights’ Realm, MCC, MTC, and Page 73, among others. She is a member of the Actors’ Center Workshop Company, Partial Comfort, serves on the Advisory Committee of Bingham Theatre Camp, and is the recipient of the 2014 Charles Bowden Actor Award from New Dramatists. She has also served on faculty and is a frequent guest speaker at Yale University, Fordham University-Lincoln Center, NYU, Stella Adler Conservatory, Primary Stages, UC Boulder, University of Iowa, Berkeley Rep School of Theatre, & Denver Center Theatre Academy.
Maria-Christina Oliveras's articles
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Environmental literary critic Anthony Lioi unpacks the work of environmentalist media and artists who grapple with global climate change.
"Years ago as an audience member, I was the one shushing people if they made what I considered too much noise. I worried about what I wore and glared at people who texted during shows. Now I go to the theater and all I can see is what an inhospitable environment we have created." - Larissa FastHorse
In his new musical “The Universe is a Small Hat,” writer/director César Alvarez invites audiences to build a society on a techno-utopian space colony.
In part-two of our "London Road" series, composer Michael Friedman interviews Tony-winner Adam Cork about his score for the verbatim film musical, which he wrote with Alecky Blythe and stars Tom Hardy.
“We never felt like 'professional' professional artists.” German theater collective Turbo Pascal aggressively creates free and public art in a country where the state-run theater monopolizes professional opportunities.