Editor’s note: Atlanta’s artists face uncertainty in the age of coronavirus. To help us all connect, we’re offering this series. In each “In Our Own Words” post...
Over morning coffee in her Iowa home, a lonely divorcée confides to her new roommate, a woman in a biker T-shirt and chunky black boots fleeing her life in the ...
How do you feel when your most well-known work is not your best work? What happens when a new generation challenges the ideals of the one before it? Can you hol...
Danielle de Barbarac, the central figure of the musical Ever After, isn’t the typical fairy tale heroine. She isn’t looking for a man to sweep her off of her fe...
After the boffo year she’s had, performer Terry Burrell wasn’t necessarily looking for another gig this season, yet another one landed in her lap rather unexpec...
Hats and religion have a complicated relationship, especially when it comes to women. They have been used as a device to impose modesty on women by keeping thei...
The new production of Leonard Bernstein’s Candide at Symphony Hall represents a historic collaboration between the Atlanta Symphony Orchestra and the Alliance T...
I almost never see a play twice before I review it, but the opportunity arose this week, and in this case, a return visit seemed warranted. The women in Pearl C...
Lady Day at Emerson’s Bar and Grill is a show that could work well in nearly any venue, but it seems to fit especially snugly into Theatrical Outfit’s Balzer Th...
It was a memorable, though slightly down, year for Atlanta theater. ArtsATL theater critics Andrew Alexander and Jim Farmer sat down recently to take a look back at some of the highs and lows of Atlanta theater in 2016, and their thoughts for what 2017 may hold....
