…technology. It is also apparent in the jump-cut aesthetic they apply to their staging, inspired by film and television techniques. For instance, while watching The Last Tycoon, company members noted that the positions of the…

…its aggressively sculptural set by Jim Findlay, brings together dance, literature, video, and installation to challenge the linear mind. The work may be appreciated on many levels (especially the performance of Kate Valk as Elaine/Faustus),…

…wanted to “solve” it. A color-blind, modern-dress 2016 Encores! production roused affections but also stumbled over conceptual problems created by, for instance, a Black actress playing Martha. The Sally Hemings issue, literally, cannot stop cropping…

…take on, just for an instant, the aura of a character being described. Then it happens: Actor Susie Sokol joins in with Shepherd to read a line aloud. For Shepherd isn’t just a reader but…

…by Lydia R. Diamond. Where were you born? Texarkana, Texas Social Media handles: Instagram: @aprilmatthis, Twitter: @april_matthis Any pets? I long to have a kitty again. Left-handed or Right? Right French toast, pancakes or waffles?…

…so? Instants that deliver that present world through the filter of an already known place; this cumulative process is what produces the sensation of “home.” We live the present, it seems, through the half-remembered fragments…

…framework. ERS’s resident sound designer Blake Koh, for instance, joins the process well before the first rehearsal. “We’ll be sitting around, no idea what we’re going to do,” Collins explains, “and we’ll hear a piece…

…logical groupings. In the video below, for instance, all of the phrases begin with “I am.” For this weekend’s performance, which was directed by E.R.S.’s John Collins, whom Rebecca Mead wrote about in the magazine,…

…Sound and the Fury. Published in 1929, The Sound and the Fury, considered one of the best instances of American modernist fiction, describes the decadence of the Compsons, an aristocratic family in the South of…

…by John Collins and featuring a hauntingly atmospheric soundscape by Matt Tierney—is lovingly crafted. The set installation is the sitting room of the Compsons, the decaying Mississippi clan that Faulkner surveys. The first chapter is…