Miriam Felton-Dansky is assistant professor of theater and performance at Bard College. Her book, Viral Performance: Contagious Theaters from Modernism to the Digital Age, was published by Northwestern University Press in 2018. She was a theater critic for the Village Voice from 2009-2018, and her essays and articles have also appeared in Artforum.com, PAJ, TDR, The
Object Collections Cabinet of WondersBy Miriam Felton-Dansky
The stage setup for Object Collections upcoming show, The Geometryopening at the Chocolate Factory on March 25reads like a catalogue of the otherworldly and bizarre.
An Experiment You Don't Understand: Adrienne Truscott, Ursula Martinez, and Zoë Coombs Marr Address their Critics in Wild BoreBy Miriam Felton-Dansky
In the raunchy political comedies of ancient Greece, it was perfectly acceptable to talk back to your critics onstage.
Cut-Rate Catharsis: The Brick Theater $ells OutBy Miriam Felton-Dansky
The Brick wants hookers. And not just any hookers—pricey hookers.
From Kansas to the Ohio: The Ice Factory 2006By Miriam Felton-Dansky
“Robert F. Kennedy is an angel of God,” explains director Rachel Chavkin to sound designer Matt Hubbs. “He’s acting as an angel of God.” “But he’s not the Second Coming?” queries Hubbs. “He’s not the Second Coming,” confirms Chavkin.
A Great Man Of Genius: Mike Daisey at GalapagosBy Miriam Felton-Dansky
“I love technology,” declares actor Mike Daisey, “but I love even more the definition of technology which is not complicating things…”
Blood Sacrifice: Adolescence, Borderlands, and Love in Julia Jarcho's PatheticBy Miriam Felton-Dansky
Pathetic refracts the story of the lovesick queen onto multiple characters ranging from adolescence to adulthood, each negotiating spiritual and bodily appetites as well as the social costs of growing older in a female body. The play explores societys sick need to experience female desire as embarrassment, as Ásta Bennie Hostetter, production designer and founding company member, puts it.
So Many PlayersBy Miriam Felton-Dansky
Philadelphia, January, 1767. A group of white actors prepared for a production of Voltaires Orphan of China by applying yellow face paint and donning (inaccurately) Middle Eastern costumes.