In Pass Over, a new play by Antoinette Nwandu now playing at LCT3 at Lincoln Center, two black men stand on a corner waiting to get out and move on. Inspired by Waiting for Godot and Exodus, through its use of language and metaphor, it’s a play of epic proportions. It also marks Antoinette’s Off-Broadway debut. We speak with Antoinette about her process for writing Pass Over, how spirituality affects her work and life as a writer, how her career has changed, and more.
Julia Coffey and Liz Wisan are no strangers to Shakespeare. They are currently at Hudson Valley Shakespeare Festival, where Julia is playing the title role in a gender-bending production of Richard II, and Liz is playing the lead role of Katherine in a production of The Taming of the Shrew that seeks to highlight themes of negotiation and companionship instead of inequity or abuse. We speak with Julia and Liz about what it’s like to perform Shakespeare in the context of the #MeToo movement, why they think Queen Elizabeth I may have influenced Shakespeare’s proto-feminism, and how much (or how little) has changed for women in the past four hundred years.
In the new musical Songbird, loosely based on Chekhov’s The Seagull, a once well-known country music star returns home to help her son launch his own career, and some major emotional complications ensue—it is based on Chekhov, after all. Songbird has music and lyrics by Lauren Pritchard, who made her Broadway debut as a teenager in the original production of Spring Awakening. We speak with Lauren about adapting Chekhov, her songwriting process, and the ways she feels gender affects opportunities for women.