As we get closer to the point where Millennials and Generation Z makes up a solid majority of the voting age population, there has been an increased desire not just for younger people to see perspectives like their own represented in the world of theatre and film, but also for content that helps Baby Boomers and Generation X better understand the unique struggles that today’s young adults – born in the 1980s and 1990s – continue to face in life. Judging by the way it’s been advertised, it’s clear that the main goal of The Floor is Lava is to become the latest creative effort to try and fill that role

Of the many problems in America today, police brutality and racial discrimination have been some of the most toxic and recurring problems that have constantly plagued our society. While a number of highly-publicized incidents – and the subsequent Black Lives Matter movement – have helped draw more attention to these serious issues over the past decade, the reality is that they’ve been going on for much, much longer than that. It’s a reality that’s put on full display in There’s Blood at the Wedding, the latest production to be presented at La MaMa Experimental Theatre Club.

Telling unique stories and creating great art is the primary goal of nearly every playwright. However, it’s not always as easy of a goal when two playwrights are collaborating together, as they’re writing the same story that they both hope will resonate with audiences. That’s exactly what was on display during the premiere of Distant Observer: Tokyo/New York Correspondence – a collaboration between Japanese playwright Takeishi Kawamura and American playwright John Jesurun – at the LaMaMa Experimental Theatre Club.