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Theater news and analysis from The Nation

  • August 5, 2005

    The Most Revolutionary Art Form

    Can a vibrant and cosmopolitan artistic scene heal the wounds of Afghanistan’s traumatic past?

    Ishaan Tharoor

  • May 26, 2005

    Arthur Miller: 1915–2005

    The politics of a progressive playwright.

    Tony Kushner

  • October 14, 2004

    Presumed Innocent

    Unlike news reports, theater isn’t expected to stick to the facts. By nature, the form is duplicitous, built on a sandy foundation of make-believe and pretense.

    Alisa Solomon

  • March 4, 2004

    Advertisements for Myself

    Solo theatrical performances are like ads. Everyone claims to hate them but nevertheless finds the good ones irresistible. A good ad acts like a tonic, making a new idea easy to swallow.

    Jonathan Kalb

  • February 12, 2004

    Company Man

    The name Shakespeare in Britain is rather like the names Ford, Disney and Rockefeller in the United States. He is less an individual than an institution, less an artist than an apparatus.

    Terry Eagleton


  • January 8, 2004

    The Closest of Strangers

    Tony Kushner’s latest play, Caroline, or Change, left me contemplating its curious title, which suggests an indecisive playwright. Why not just Caroline, or simply Change?

    Baz Dreisinger

  • December 22, 2003

    What Are They Reading?

    “People try to be so fussy and particular when they look at politics,” observes Zillah, a character in Tony Kushner’s 1987 play, A Bright Room Called Day, “but what I think an understandin

    William Johnson

  • June 19, 2003

    Playing the Field

    “In society the homosexual’s life must be discreetly concealed. As material for drama, that life must be even more intensely concealed.

    David Kaufman

  • March 6, 2003

    Talkin’ ‘Bout My Generation

    The revival of a highly regarded play can either enhance or diminish its reputation.

    David Kaufman

  • January 30, 2003

    ‘What Silent Love Hath Writ’

    At the Brooklyn Academy of Music this month, the Harvey Theater reclaims its original name–the Majestic–with the arrival of director Sam Mendes’s beautiful renderings of Chekhov’s Uncle Va

    Carol Rocamora