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Caroline Meredith
December 17, 2020
The final episode of Kamala Sankaram and Rob Handel’s serial opera premieres tonight, December 17th.
The final episode of Kamala Sankaram and Rob Handel’s serial opera premieres tonight, December 17th.
Sarah Gancher’s newest play, a workplace comedy about the Russian trolls who influenced the 2016 presidential election, is making its world premiere—fittingly—online.
Celebrating its tenth year, The Civilians’ R&D Group provides artists a season-long developmental residency.
In the early aughts, The Civilians’ dared to create a show that grappled with conflicting realities coming from the Bush administration and the media-at-large.
As Philadelphia attempts to achieve inclusion and equity for black creatives, Dezi Tibbs interviews BIPOC Philly artists about visions for the future and the creation of The Black Theatre Alliance of Philadelphia.
Reunited after the shutdown, the cast of Theater of War Production’s “Antigone in Ferguson” provide comfort to the afflicted just as they did when the show first premiered in 2016.
In “Let Me Ascertain You” episodes from 2012, Steve Cosson introduces excerpts from “(I Am) Nobody’s Lunch” and gives a look behind-the-scenes at the Civilians’ efforts to recreate the Paris Commune for the stage.
In “Paris Commune,” now available for streaming and digital purchase, Michael Friedman translated music from the archives of the 1871 socialist revolution.
In an episode of Melissa Crespo’s podcast “Werking Artist,” Darrel Alejandro Holnes and Victoria Collado discuss their R&D development “Black Feminist Video Game.”
Arts journalist and filmmaker Verity Healey speaks with members of the Belarus Free Theatre to discuss how making art in exile has prepared them for making theater during a pandemic.
Moscow-based director Anastasia Patlay discusses the power of documentary theatre to elevate the voices of those who are not typically represented on stage in today’s Russia.
Ten years after “The Great Immensity,” received a National Science Foundation grant that drew the ire of Congressional Republicans, The Civilians’ Artistic Director Steve Cosson discusses the complicated relationship between the government and arts organizations.
Alex Ates speaks with Whit MacLaughlin—the experimental theatermaker who ventured into the online realm before it became our norm—about the intersection between digital technology and live performance and pedagogy.
At Wesleyan University, a Theater Department production of The Rude Mechs’ “The Method Gun” takes devised theater digital.
In our R&D In Process Series, members of our 2019-20 R&D Group take us behind-the-scenes of their projects in development. Today, Michael Alvarez reflects on the need for innovative uses of space in contemporary theater, and his work on Jason Tseng’s immersive play “Sanctuary.”
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