Miriam Felton-Dansky
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 Collection’s Cabinet of Wonders
By Miriam Felton-DanskyThe stage setup for Object Collection’s upcoming show, The Geometry—opening at the Chocolate Factory on March 25—reads 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 Bore
By Miriam Felton-DanskyIn 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 Out
By Miriam Felton-DanskyThe Brick wants hookers. And not just any hookers—pricey hookers.
From Kansas to the Ohio: The Ice Factory 2006
By 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 Galapagos
By 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 Pathetic
By Miriam Felton-DanskyPathetic 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 “society’s sick need to experience female desire as embarrassment,” as Ásta Bennie Hostetter, production designer and founding company member, puts it.
So Many Players
By Miriam Felton-DanskyPhiladelphia, January, 1767. A group of white actors prepared for a production of Voltaire’s Orphan of China by applying yellow face paint and donning (inaccurately) Middle Eastern costumes.
