Nathan Pugh

“Time” and “A Little Devil in America” Showcase the Looping Temporalities of Black America

No Matter How You Frame It, Your Vaccine Selfie Might Make Someone Uncomfortable

In “The Unwanted Siblings,” Comedy Prompts Testimony and Transformation for a Chinese Family

In “The Thanksgiving Play,” Wokeness Erases Indigeneity (Including FastHorse’s Own Voice)

Tender Soil, Quiet Graves: “Minari” and the Growing Canon of Asian American Requiems

Shades’ Production of “Salvation” Stages an Existential Fugue in the Afterlife

Road to Nowhere: Discovering My Mixed Race Identity Through Theater

In “Cut Woman,” Dena Igusti and Ray Jordan Achan ‘19 Explore the Perils and Possibilities of Embodied Writing

In the Zilkha Gallery, “A Sculpture, A Film, and Six Videos” Explores Alternative Temporalities

To the Top of the World: How “The Chicks” Helped Me Grieve and Define Home

Two New Films Depict Epic Road Trips to Get Abortions, With Wildly Different Results

Imagining Joe Biden’s “Despacito” Presidency

In Conversation With Performer Kristina Wong, Plots are Formed for Creating Art Relevant to 2020

Pouring Into Myself: Two Performers Dream Alone in “A Milk Kind of Play”

What’s Happening This Semester? A Sneak Peek at Arts in Unusual Times

In Earthling Collective’s Production of “Symp,” Gaslit Nights Fuel Tragicomic Love

Cross Talk: Lady Gaga Returns to Her Roots With “Stupid Love”

In “Fruits borne out of rust,” Five Japanese Artists Discover the Beauty Within Exhaustion

In “Corazones,” Six Latina Women Celebrate and Remember Their Community

From Lovestruck to Lovelorn: Our Valentine’s Day Picks

2020 Oscars Recap: A Triumphant End to a Frustrating Awards Season

Quiara Alegría Hudes’s Vision of “Beautiful Disruption”

“Woman and Scarecrow”: A Confrontation of the Self

Cross Talk: Feminism and Wokeness in Greta Gerwig’s “Little Women”

Matthew Shepard’s Story Deserves to Be Told. But It Can’t Be the Only Story For the LGBTQ Community.

On the Purpose of Student Theater Reviews

Cross Talk: On Jeremy O. Harris’ “Slave Play” and When Processing Isn’t Enough

How “A Strange Loop” Helps Me Negotiate Not Belonging in Musical Theater

Cross Talk: Parsing the Legacy of “Transparent”

In “Fairview,” Drury Puts Performance of Blackness and White Guilt on Stage

Second Stage Prepares for New Season with New Policies

The Generosity and Limitations of “Booksmart’s” Progressiveness

Why “Pose” Feels Like the Most Dangerous Show on Television

In “Cardboard Piano,” Love Persists Even If Forgiveness Cannot

“Eons” Connects Three Women’s Pain Across Identities, Time, and Space

In “Blind Faith,” Confrontation Comes From Love

“Boy Erased” Offers an Exploration of Religion and Sexuality, at a Distance

“The Wolves” Offers Narratives of Female Adolescence

“A Star is Born” Delivers Joy and Heartbreak Within Restrictive Conventions

In “They, Themself and Schmerm,” Comedian Becca Blackwell Pushes Discomfort Into Vulnerability

“Eighth Grade” Finds the Beating Heart of the Cringe Comedy

Motherhood, Race, and Religion Collide in “La Violecion of My PapiYon”

“Angels In America” Offers Hope and Promise

“Constance and Sinestra” Finds Connections in the Midst of Trauma

“Here and Now”: A Show Grounded in the Present, Struggles for Relevance

“Black Panther” Revitalizes the Superhero Movie with Imagination and Drama

“Mean Girls: The Musical,” Unlike Fetch, Is Definitely Happening

“Columbus” and Hollywood’s Issue With Race

“Hadestown” is a Modern Myth

Look What You Made Me Do: How Taylor Swift is Letting Down the LGBT Community

An Intergenerational Investigation: Sarah Gancher’s “I’ll Get You Back Again”

“The Florida Project” Bursts with Childlike Wonder

Transparent Blurs Its Own Identity in Season 4

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