AMBER REED is a graduate of the Brooklyn College Playwriting MFA program. Her essays on Nature Theater of Oklahoma, Sibyl Kempson, and other theater makers have appeared in the Rail and in books published by 53rd State Press and Coffee House Press.
APR 2017 | Theater
Most of us already know something of Eugene O’Neill. His plays are as ineluctable as their characters’ poisoned fates; even if we duck The Emperor Jones in high school, we are caught later by our neighborhood troupe’s Anna Christie, or by the Broadway revival of Long Day’s Journey into Night that our parents believe might finally make us appreciate them.
MAY 2009 | Theater
Listeners to the Acousmatic Theater Hour, which airs on Sunday nights at 9pm on WFMU, have by now heard Caroline Bergvall reading 47 different English translations of the first sentence of the Inferno; Lumberob revealing, for the first time, the spirit animals of pro golfers; long recordings of work by Richard Foreman, Kathie Kosmider, Will Eno, and other notables; and, as they say, much more.
DEC 08-JAN 09 | Theater
When she was nineteen or twenty, Sibyl Kempson began to see cats everywhere she went. They would just sort of come around corners, or be sitting in small groups along the path when she walked in the woods.
NOV 2017 | Theater
Few people owned a clock when Samuel Pepys was born above his father’s tailoring shop in 1633. But they had the day and night, then as ever, and the seasons and phases of the moon.
JUL-AUG 2008 | Theater
Kentucky-Montana is characterized by several impossibilities, the number one impossibility being that the rivers have no banks.
DEC 06-JAN 07 | Theater
MELANIA TRUMP Christmas is like ice cream. You have to eat it fast or it melts.