Alex Hare, director and co-conceiver of "Chains Don't Rattle Themselves," explores stories by formerly incarcerated writers and affected family members.
"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
With its current productions of "Observe the Sons of Ulster Marching Towards the Somme" in Dublin and "Quietly" in New York, the Abbey Theatre mines Irish history to pose universal questions about human violence.
Campaign Office is a new physical and digital installation where would-be candidates can self-nominate for President of the United States. Visitors are invited to launch their campaign by recording an announcement speech, generated automatically from 2016 campaign speeches, and filing paperwork necessary to be an official candidate for president.
On the 20th anniversary of the Broadway opening of "Rent," Extended Play's Tommy O'Malley sits down with Sarah Schulman and Chris Tyler to talk about the legacy of the Pulitzer Prize-winning show. Schulman argues that Jonathan Larson plagiarized huge chunks of "Rent" from her novel "People in Trouble."
Activist/writer Andrea Ciannavei interviews Jacques Servin and Laura Nix about the Yes Men, the activist performance duo that targets power systems.
Performance artist Aisha Cousins, along with musician Greg Tate, created “Brer Rabbit the Opera” as a response to the shifting demographics in her Brooklyn neighborhood.
Performance art duo PearlDamour investigates the corners of America in their latest community engagement experiment and site-specific performance "Milton."
In his nearly 50-year career, investigative theater pioneer Ping Chong has explored some of the more controversial topics of our time and inspired others to emulate his methodology.
Playwright Jason Grote on “BASETRACK Live,” a multimedia theater piece born from photojournalism that news outlets wouldn't touch.
“I kept it very close to their own words. There was something sacred about it. I didn’t want to mess with the power they have.”
The Playwright-in-Residence at the Public discusses getting past the small talk in his podcast and his plays.